/AVERY  tfeMRY 
COLUMBIA  UNIVERC’TY 


How  to  apply 
Liquid  Slormtight 


STORMTIGHT  does  not  require  any  thinning  or 
heating.  It  comes  ready  for  use.  Simply  stir  it 
thoroughly,  pour  it  out  and  spread  it  on. 

It  can  be  applied  on  any  kind  of  roofing  material  in 
any  sort  of  weather,  even  while  it  is  raining,  for  the 
compound  sticks  to  a wet  roof  just  as  well  as  a 
dry  one. 

A long  handled,  three  knot  brush  facilitates  the 
application. 

To  get  the  best  results  sweep  the  surface  clean 
before  applying  STORMTIGHT. 

The  application  of  STORMTIGHT  is  very  simple 


Covering  Capacity 


The  quantity  of  STORMTIGHT  required  to  cover 
a given  roof  surface  depends  somewhat  upon  the 
age  and  nature  of  the  roofing  material. 


For  instance,  an  old,  dried-out  composition  roof  is 
highly  absorbent  and  takes  a greater  quantity' than 
a new  non-absorbent  material.  Here  is  the  approx- 
imate quantity  required  for  various  materials: 


Liquid  S TORM  TIGll  T ^ s£  Ptcr 

Metal  or  non-absorbent  areas 1 to  1 x/2 

Old  felt  or  composition  surfaces \x/2  to  2 

Corrugated  iron  surfaces  2 to  2j/£ 

Gravel  and  porous  surfaces 2 to  ix/2 


Plastic  STORMTIGHT 

Smooth  non-absorbent  areas 
Old  and  porous  areas 


Pounds  per 
100  Sq.  ft. 

.25  to  35 
35  to  50 


STORMTIGHT  Primer 

Old  and  porous  surfaces 


Gallons  per 
100  Sq.  ft. 


1 to  V/2 


Shingle  Stain  ftfelT 

Wood  shingles 1 to  1% 


AVEKV  U8HAHY 

“X-UMtU  «*,v«WlTV 

The  Sherwin-Williams  Company 

CATALOGUE  OF 


PAINT  AND  VARNISH  PRODUCTS 


The  Sherwin-Williams  Co.  manufactures  a complete 
line  of  Paints,  Varnishes,  Stains,  Enamels,  Fillers,  Driers, 
Thinners  and  other  products  covering  every  requirement 
of  home  painting  and  decorating,  also  a full  line  of  Polishes 
and  Cleansers  for  all  surfaces. 

Following  is  a list  of  principal  Sherwin-Williams  Products 
for  home  use. 


PAINTS 


S-W  ALUMINUM  PAINT — For  a lasting  silver  finish  on  all  metal  and 
wood  surfaces. 

S-W  AUTO  SEAT  DRESSING — t or  reviving  the  appearance  of  scratched 
or  old  leather  cushions  and  upholstery.  Can  also  be  used  on 
leather  furniture,  traveling  bags  and  other  leather  or  imitation 
leather  surfaces. 

S-W  AUTO  TOP  DRESSING — For  renewing  the  finish  on  mohair, 
pantasote  and  similar  tops,  side  curtains  and  tire  covers. 

S-W'  AUTO  ENAMEL — For  the  refinishing  of  motor  cars  by  the  car 
owner. 

S-W  BATH  ENAMEL — For  producing  a porcelain-like  finish  on  zinc 
bath  tubs,  sinks,  refrigerators,  etc. 

S-W  CANOE  ENAMELS — For  painting  canoes,  row  boats  and  other 
water  craft. 

S-W  COMMONWEALTH  BARN  RED- — For  painting  barns,  sheds, 
corncribs,  roofs,  fences,  etc.;  a bright,  handsome  red. 

S-W  COMMONWEALTH  BARN  GRAY— For  painting  barns,  sheds, 
corncribs,  roofs,  fences,  etc.;  a neat,  attractive  gray. 

S-W  COMMONWEALTH  PAINT- — For  painting  garages,  fences,  arbors, 
barns  and  other  buildings,  where  a durable  and  serviceable  paint  is 
desired  at  a popular  price. 

S-W  CONCRETE  AND  CEMENT  HARDENER — For  hardening  and 
dust-proofing  cement  floors. 

S-W  CONCRETE  FLOOR  PAINT — For  painting  concrete  and  cement 
floors  in  suitable  colors.  Produces  enamel-like  finish. 

S-W  CONCRETE  WALL  FINISH — For  the  exterior  painting  of  con- 
crete, cement,  stucco  and  brick  walls. 

S-W  CRACK  AND  SEAM  FILLER — For  filling  cracks,  crevices  and 
seams  in  old  and  new  floors. 

S-W  CYCLE  ENAMEL — For  refinishing  bicycles,  motor  cycles,  veloc- 
ipedes, toys,  etc. 


STAINS 


S-\\  ACID  STAINS — Transparent  stains  that  intensify  and  enhance  the 
natural  beauty  of  the  woods  to  which  they  are  applied.  Noted  for 
its  permanent  mahogany  stains. 

S-^\  HANDCRAFT  STAINS— Highest  grade  artistic  stains  for  use  in 
finishing  finest  interior  woodwork,  furniture,  etc.,  both  hard  and 
soft  woods.  Spirit  penetrating  in  type — will  not  raise  grain  of  the 
wood. 

S-W  OIL  STAINS — For  a stain  finish  on  all  types  of  new  wood  work, 
especially  good  for  soft  woods. 

S-W  PRESERVATIVE  SHINGLE  STAIN— A line  of  creosote  stains 
in  all  the  popular  shades  of  reds,  browns,  greens  and  grays. 


POLISHES  AND  CLEANSERS 

S-W  BRAS-BRITE — For  cleaning  and  polishing  brass  and  other  polished 
metal  surfaces. 

S-W  FLAXOAP — An  absolutely  pure  linseed  oil  soap  for  general  cleaning. 

S-W  FLOOR- WIPE — For  cleaning  and  renewing  the  finish  of  waxed  and 
varnished  floors,  waxed  and  varnished  woodwork,  furniture,  etc. 

S-^\  HIGH  POLISH  FLUID  WAX — A liquid  wax  for  finishing  woodwork, 
floors,  bowling  alleys,  furniture,  etc. 

S-W  POLISH-OL — More  than  a furniture  and  woodwork  polish,  it  is  a 
paint  and  varnish  “food”  or  reviving  agent  that  brings  out  and  in- 
tensifies the  original  finish.  Splendid  for  cleaning  and  polishing 
automobile  bodies,  fenders,  radiators,  etc. 

S-W  PREPARED  WAX — For  a waxed  finish  on  floors  and  woodwork. 


DISINFECTANTS 

S-W  LIQUOR  CRESOLIS  COMPOSITUS,  U.  S.  P.—  A high  grade 
product  for  use  as  a general  disinfectant  and  for  use  by  hospitals 
in  making  antiseptic  solutions. 

S-W  OYLAPIXE  (Pronounced  Oil-a-Pine) — A disinfectant  and  antiseptic 
with  a very  desirable  odor,  made  from  emulsified  pine-tar  oil. 

S-W  PHENOLENE — A powerful  coal-tar  disinfectant,  from  four  to  five 
times  more  powerful  in  disinfecting  value  than  carbolic  acid. 


INSECTICIDES 

The  Sherwin-Williams  Co.  are  the  largest  makers  of  Insecticides  and 
Fungicides  in  the  world,  and  make  a complete  line  covering  every  re- 
quirement of  the  farmer,  orchardist  and  gardener. 


— 4 — 


Sh  Erwin-  Williams 


PRINCIPAL  PRODUCTS  FOR 
EXTERIOR  HOUSE  PAINTING 


S W P 

SHERWIN-WILLIAMS 
PAINT,  PREPARED 

FOR  PAINTING  BUILDINGS 


SWP  is  the  most  durable  and  economical  paint  that  can  be  made. 
There  is  no  other  material,  either  prepared  or  hand-mixed,  that  will 
give  such  uniformly  good  results. 

On  comparative  test  with  lead  and  oil  or  cheaper  materials,  SWP 
will  prove  to  cost  less  by  the  job,  because  it  spreads  more  easily  under 
the  brush,  saves  the  painter’s  time,  covers  the  greatest  number  of  square 
feet  to  the  gallon,  and  wears  the  longest  possible  time. 

The  man  who  buys  the  materials  and  prepares  a paint  himself, 
cannot  possibly  make  a paint  equal  to  SWP,  in  the  manufacture  of 
which  we  spare  neither  skilled  workmanship  nor  the  quality  of  the 
materials  used  in  making  it  the  finest  possible.  Our  unusual  facilities 
and  paint  knowledge,  gained  from  nearly  CO  years  of  experience,  enable 
us  to  manufacture  a paint  of  greatest  covering  capacity,  greatest  dura- 
bility, and  therefore  greatest  economy. 


PRESERVATIVE  SHINGLE  STAIN 

popular  shades  of  reds,  browns,  greens  and  grays,  is  manufactured  on 
a high-quality  basis.  It  is  a line  of  penetrating  stains — not  thin  paints 
that  wash  off  with  the  first  rain  or  that  soon  fade.  These  stains  contain 
the  correct  combination  and  amounts  of  preservative  oils  and  solvents 
to  insure  the  deepest  penetration  into  the  fibre  of  the  wood,  and  they 
have  extreme  lasting  qualities. 


PORCH  AND  DECK  PAINT  SfSSS  oKTtpo0. 

sure  and  hard  wear  on  porch  floors,  steps,  decks  of  boats,  etc.  Is  the 
best  insurance  against  the  elements  and  is  not  affected  by  repeated 
cleaning  and  scrubbing.  Spreads  easily  and  dries  with  a full  gloss. 


For  outside  and 
general  use.  De- 
signed especially  to 
withstand  severe 
conditions. 


RExpAR 

VARNISH 


Ideal  for  outside 
doors,  porch  ceil- 
ings, canoes,  window 
sills,  kitchens,  bath 
rooms,  etc. 


— 5 


Sherwin-Williams 

PRINCIPAL  PRODUCTS  FOR 
INTERIOR  DECORATING 


The  ideal  flat  wall  finish  for 
artistic  decoration  of  interior  plas- 
tered walls,  ceilings  and  woodwork. 
It  is  durable,  sanitary  and  artistic, 
lending  itself  readily  to  the  most 
pleasing  combinations,  and  is  truly  economical  because  the  original 
beauty  of  the  newly  decorated  wall  can  be  kept  ever  fresh  and  attrac- 
tive, as  Flat-Tone  can  be  washed  with  soap  and  water.  For  this  reason 
Flat-Tone  costs  no  more  in  the  long  run  than  an  ordinary  calcimine 
or  tint,  because  it  will  easily  outwear  several  such  coats. 


twkfcfine 


The  highest  quality  enamel  it  is 
possible  to  produce.  There  is  no 
other  enamel  made,  either  im- 
ported or  domestic,  that  surpasses 
Old  Dutch.  Comes  in  three 
shades:  White,  Ivory  and  French  Gray,  in  either  gloss  or  egg-shell 
finish.  For  undercoater  for  interior  use,  use  S-W  Flat-Rite  Enamel 
Undercoater.  For  outside  use,  use  SWP  Flat- White  for  the  undercoats. 


The  Waterproof  Floor  Varnish — A pale 
durable  floor  varnish,  possessing  maximum 
water-resisting  qualities,  designed  for  use 
on  all  floors,  and  particularly  adapted  to 
parquet  flooring  of  oak,  light  maple  or 
birch,  as  well  as  linoleums.  Mar-not  is  easily  applied,  flows  out  evenly, 
dries  dust-free  in  two  or  three  hours  and  can  be  walked  on  in  twenty- 
four  hours. 


The  Waterproof  and  Heat-resisting  Interior 
Varnish. — A pale,  full-bodied  varnish  de- 
signed for  the  finest  interior  woodwork  in 
homes  where  a strictly  first-class  finish  is 
demanded.  Dries  with  a full  gloss  so  that 
it  can  be  left  in  its  natural  state,  if  desired,  or  it  can  be  rubbed  to  a dull 
finish  with  pumice-stone  and  oil  or  water  after  about  forty-eight  hours. 
Scar-not  takes  a beautiful  polish. 


SCAR-NOf 


jVlAR-NOJ 


ENAMELOID 


A varnish  enamel  of  unusual  quality  and  popu- 
larity with  master  painters.  Particularly 
adapted  for  use  on  interior  walls,  ceilings  and  woodwork.  The  ideal 
enamel  for  finishing  sunroom,  bedroom  or  porch  furniture.  Is  not 
affected  by  steam,  heat  or  cold.  Is  unusually  easy  to  apply,  covers  well 
and  can  be  cleaned  repeatedly  with  soap  and  water. 


INSIDE  FLOOR  PAINT  „Vk"ot.h  fegTb1 

consideration  in  the  manufacture  of  Inside  Floor  Paint,  and  for  dura- 
bility and  satisfaction  our  colors  have  no  equal.  Under  ordinary  at- 
mospheric conditions  Inside  Floor  Paint  will  dry  over  night.  Will 
stand  repeated  scrubbing  with  soap  and  water. 


— 6 — 


Sherwin-Williams 


WELL-LIKED  SPECIALTIES 
FOR  THE  HOME 


HANDCRAFT  STAINS 


Highest  grade  artistic  stains  for 
use  in  finishing  finest  interior  wood- 
work, furniture,  etc.  Are  adaptable  to  hard  and  soft  wood  alike. 
These  stains  are  individual  in  tone,  dry  without  showing  streaks  or 
brush  marks,  and  are  permanent  to  light.  Do  not  raise  the  grain  of 
the  wood,  therefore  rerpiire  no  sanding. 


FLOORLAC 


The  All-Around  Varnish  Stain. — Floorlac  pro- 
duces a beautiful  stained  and  varnished  effect  in 
one  operation  on  furniture,  floors  and  woodwork,  in  fact,  on  any  kind 
of  a surface  where  a finish  of  this  kind  is  desired.  Floorlac  represents 
the  highest  quality  of  stain  scientifically  combined  with  S-W  Mar-not, 
a waterproof  varnish.  On  new  work  it  preserves  to  the  greatest  extent 
the  natural  beauty  of  the  wood.  Old  work  or  surfaces  previously 
painted  can  be  changed  to  closely  imitate  the  hardwoods  represented 
in  this  list  by  first  applying  a coat  of  Floorlac  Ground.  Floorlac 
dries  with  a high  varnish  gloss,  is  tough,  elastic  and  durable,  and  will 
not  show  scratches  or  heel  marks. 


AUTO  ENAMEL 


A line  of  enamels  made  especially  for 
refinishing  motor  cars  by  the  car  owner 
himself  where  the  car  cannot  be  spared  for  a sufficient  length  of  time 
to  be  painted  by  a professional  car  refinisher.  Prepared  ready  for  use. 
S-W  Auto  Enamel  is  very  durable,  elastic  and  waterproof,  and  on 
account  of  its  easy  working  qualities,  it  is  possible  for  one  inexperienced 
in  painting  to  secure  a high-class  finish  on  his  car  without  the  loss  of 
time  attending  the  usual  paint-shop  job.  Dries  in  about  48  hours, 
depending  upon  atmospheric  conditions.  Resists  outside  exposure  and 
repeated  cleaning. 


FLAXOAP ( HouseholdSoft Soap)JI*™^ 

linseed  oil  soap,  made  from  cold  pressed  linseed  oil  and  potash,  contains 
no  animal  fat  whatever,  no  free  caustic  alkali,  consequently  can  be 
used  on  the  finest  fabrics  without  fear  of  injury.  Flaxoap  lathers  freely 
in  hot  or  cold,  hard  or  soft  water.  It  is  especially  adapted  to  cleaning 
floors,  woodwork,  furniture,  etc.  Owing  to  the  fact  that  pure  linseed 
oil  is  the  life  of  all  paints  and  varnishes,  Flaxoap  is  the  best  cleaner 
for  all  painted  and  varnished  surfaces.  It  will  be  found  most  excellent 
for  cleaning  automobiles,  carriages,  windows,  mirrors  and  cut  glass. 
The  housewife  will  find  it  particularly  valuable  in  the  cleaning  of  carpets 
and  rugs.  Complete  directions  shown  on  the  label. 


DQl  /Q//  ni  A high  grade  furniture  polish  for  use  on  furniture, 
1 - ISL.  woodwork,  floors,  pianos,  victrolas,  etc.;  also  splen- 

did for  cleaning  and  polishing  automobile  bodies,  fenders,  radiators,  etc. 


PRFPARFn  WAY  The  very  highest  grade  of  prepared  wax  that 
Vw HA  can  projucec)-  for  waxed  finish  on 
floors,  woodwork,  furniture,  etc.;  especially  adapted  for  use  on  ball- 
room floors  and  bowling  alleys;  used  extensively  on  automobiles. 


— 7 — 


What  Constitutes  the  Best  Paint 

Prepared  Paint  vs.  Hand  Mixed 

The  best  paint  is  always  essential  to  best  results.  There- 
fore, in  painting  a house,  one  should  be  most  careful  as  to  the 
materials  with  which  it  is  painted.  The  best  paint  to  use  is 
undoubtedly  a high  grade  prepared  paint  made  by  a reputable 
manufacturer.  There  are  certain  definite  reasons  why  it  is 
much  better  than  hand-mixed  or  so-called  “lead  and  oil.” 

It  is  only  reasonable  that  a man  who  buys  the  materials 
and  mixes  the  paint  himself  cannot  possibly  produce  the  equal 
of  good  prepared  paint.  It  is  a case  of  hand  work  against 
mechanical  efficiency;  human  guesswork  against  exact  scien- 
tific formulae;  hand  stirring  against  machine  grinding. 

Good  white  lead  and  pure  raw  linseed  oil  make  a fairly 
good  paint,  and  for  years  was  the  best  paint  known.  In  fact, 
for  a long  period  white  lead  was  practically  the  only  base  pig- 
ment known.  It  became  a tradition  of  the  painter’s  trade  and 
anything  else  was  not  even  considered. 

To  say,  however,  that  straight  “lead  and  oil”  paint  today 
is  the  best,  would  be  to  say  that  the  world  has  progressed  in 
every  other  industry  but  that  of  paint  making.  Time  has 
changed  things.  The  paint  industry,  like  every  other,  has  ad- 
vanced and  improved.  It  was  realized  that  straight  white 
lead  (and  oil)  was  too  soft,  and  allowed  the  hot  sun  to  draw  out 
the  oil  and  oxidize  the  film,  causing  the  paint  to  lose  its  gloss, 
chalk  and  rub  off.  Effort  was  constantly  being  made  to 
remedy  this  difficulty. 

It  was  about  seventy  years  ago  that  the  use  of  zinc  as  a 
paint  pigment  was  discovered  by  a French  master  painter, 
named  Le  Clare,  who  used  it  in  his  own  work  with  such  superior 
results  that  he  was  presented  with  a gold  medal  and  Cross  of 
the  Legion  of  Honor  for  distinguished  services  rendered. 

Zinc  oxide  is  whiter  than  lead  and  possesses  greater  spread- 
ing capacity  because  it  takes  more  oil,  and,  being  hard,  holds 
the  oil  to  the  surface.  However,  it  was  soon  discovered  that 
zinc  alone  dries  too  hard  and  quickly  becomes  brittle  and 
cracks  and  peels.  Furthermore,  that  for  the  same  reason  it  is 
objectionable  for  repainting,  making  it  difficult  to  get  new 
paint  to  adhere  to  it. 


8 — 


The  problem  then  was  to  incorporate  these  two  base  pig- 
ments in  the  right  scientific  proportions  so  that  the  softness 
of  the  lead  would  be  offset  by  the  hardness  of  the  zinc  and  vice 
versa,  resulting  in  a paint  having  the  virtues  of  both  and  the 
objections  of  neither,  hence  greater  body  and  opacity,  better 
ease  of  working  and  spreading,  more  absorption  of  oil  and 
greater  durability. 

After  much  experimenting  this  was  accomplished,  and 
this  combination  in  the  right  proportions  has  for  some  time 
been  recognized  generally  and  highly  endorsed  by  the  most 
reputable  paint  authorities  as  possessing  best  paint  qualities. 
However,  the  method  of  mixing  is  also  of  utmost  importance. 
For  instance,  straight  carbonate  of  lead  (white  lead)  alone  with 
straight  zinc  oxide  does  not  give  as  high  efficiency  and  as 
thorough  incorporation  as  is  the  case  when  a certain  percent- 
age of  the  former  is  combined  in  the  form  of  sulphate  of  lead, 
the  proportions  again  being  an  essential  factor.  This  is  where 
accurate  laboratory  formulae  and  accurate  measuring  of  each 
ingredient  by  weight  is  of  the  greatest  value  in  producing  the 
best  possible  paint.  Also,  the  manner  and  thoroughness  in 
which  these  ingredients  are  mixed  together  and  balanced,  are 
of  utmost  importance  and  it  is  only  natural  that  this  can  be 
done  much  more  thoroughly  by  machinery  than  by  hand. 

The  foregoing  deals  principally  with  the  pigment  portion 
of  the  paint,  but  the  liquid  portion  (or  vehicle)  is  also  of  equal 
importance.  The  first  essential  of  linseed  oil  is,  of  course,  to 
carry  and  suspend  the  pigment  in  such  a way  that  the  mass 
may  be  perfectly  fluid  until  and  during  the  process  of  appli- 
cation, after  which  it  has  a much  more  important  task  to 
perform.  Linseed  oil  supplies  the  gloss  and  is  the  very  life 
of  the  paint.  It  is  the  oil  which  fills  the  pores  of  the  wood 
and  it  is  the  oil  which  sticks  to  and  grips  the  surface  in  a 
tough,  tenacious,  waterproof  film.  It  must  harden  and  act 
as  a binder  to  hold  the  pigment  intact  on  the  surface,  yet  be 
elastic  and  weather-resisting.  For  these  reasons  it  is  neces- 
sary that  the  best  linseed  oil  be  used  in  sufficient  proportions. 

SWP  (Sherwin-Williams  Paint,  Prepared)  is  a correct 
combination  of  oxide  of  zinc,  carbonate  of  lead,  sulphate  of 
lead  and  pure  linseed  oil,  with  the  necessary  turpentine  and 
drier.  These  materials  are  all  of  the  highest  quality  and  are 
intelligently  and  scientifically  handled  so  as  to  give  the  maxi- 
mum paint  value  in  each  can  and  color. 


— 9 


Sherwin-W illiams  High  Quality  Products 
and  Where  to  Get  Them 
The  Importance  of  Quality  in  Painting  Materials 

There  are  few,  if  any,  lines  of  goods  in  which  quality  is  of 
more  importance  than  in  paints  and  varnishes.  Only  through 
the  use  of  high  quality  material  is  it  possible  to  obtain  a 
really  high  class  finish,  and  one  that  will  give  the  greatest 
satisfaction  in  years  of  service.  As  all  paints  and  varnishes 
look  more  or  less  alike  in  the  can,  there  is  only  one  safeguard 
available  to  the  home  purchaser  who  does  not  have  laboratory 
equipment  for  making  analysis  tests — that  is  the  reputation 
of  the  manufacturer. 

The  Facilities  of  The  Sherwin-Williams  Co.  for  the 
Production  of  High  Quality  Paints  and 
Varnishes 

The  quality  of  Sherwin-Williams  paint  and  varnish  prod- 
ucts is  recognized  the  world  over.  Our  goods  have  been  on 
the  market  for  nearly  sixty  years,  and  today  we  are  the 
largest  manufacturers  of  paints  and  varnishes  in  the  world. 

We  safeguard  the  quality  of  our  products  by  insuring  the 
quality  of  the  raw  materials  from  which  they  are  made, 
practically  all  of  which  we  produce  ourselves.  We  know  that 
our  lead  and  zinc  is  absolutely  pure  because  we  mine,  smelt, 
corrode  and  grind  it  ourselves.  We  know  that  our  linseed 
oil  is  pure  because  we  crush  it  ourselves,  using  only  the  best 
grade  of  flaxseed,  and  we  know  that  it  is  properly  aged  because 
we  age  it  ourselves.  We  know  that  our  colors  and  dyes  are 
fast  because  we  produce  them  ourselves  and  know  the  in- 
tricacies of  their  production.  Thus  controlling  the  quality 
of  our  raw  materials  as  we  do,  and  combining  them  with 
scientific  accuracy  according  to  specific  formulae  by  means 
of  machinery  of  our  own  design,  under  the  superintendence 
of  experts  who  have  been  in  our  employ  twenty,  thirty  and 
in  some  cases  forty  years,  there  is  little  wonder  that  Sherwin- 
Williams  paints  and  varnishes  enjoy  the  greatest  popularity. 

The  well  known  “Cover  the  Earth”  trade-mark,  which  is 
on  the  label  of  every  can  of  Sherwin-Williams  products,  is 
the  buyer’s  protection  in  making  his  purchases  of  paints, 
varnishes,  stains,  enamels  and  kindred  products. 


— 10  — 


W here  to  Bay  Sherwin-W  illiams  Products 

Sherwin-Williams  painting  materials  are  sold  by  the  best 
dealers  everywhere.  If  you  do  not  know  where  these  goods 
can  be  obtained  write  us  and  we  will  give  you  the  name  of 
the  nearest  dealer  handling  them.  Any  information  you 
may  desire  about  our  goods  or  their  application  may  also  be 
obtained  by  addressing  our  nearest  office. 


W here  to  Reach  Us 

FACTORIES  ANI)  OFFICES 

CLEVELAND.  601  Canal  Road,  N.  W. 

CHICAGO,  Pullman  Station 

NEWARK,  Brown  Street  and  Lister  Avenue 

OAKLAND,  Shell  mound  Ave.  and  Horton  St. 

SALES  OFFICES  AND  WAREHOUSES 

ALBANY,  447  Broadway 
ATLANTA,  52  North  Broad  St. 

BALTIMORE.  McCormick  Bldg..  Barrc  and  Light  Sts. 

BINGHAMTON,  N.  Y.,  162  Washington  Street 

BIRMINGHAM,  2009  Third  Avenue,  North 

BOSTON,  11  Stillings  Street 

BUFFALO,  102  Pearl  Street  and  66  Erie  Street 

CHATTANOOGA,  TENN.,  924  Market  Street 

CHICAGO,  City  Office  and  Warehouse,  2355  LaSalle  Street 

CINCINNATI,  Sixth,  corner  Main  Street 

COLUMBUS.  205  South  High  Street 

DALLAS,  1621  Wall  Street 

DENVER,  1629  Arapahoe  Street 

DETROIT,  539  Woodward  Avenue 

EL  PASO,  216  North  Stanton  Street 

FORT  WORTH.  700  Houston  Street 

HOUSTON,  2108  Preston  Avenue 

INDIANAPOLIS,  318  W.  Georgia  Street 

JOHNSON  CITY, 256  Main  Street 

KANSAS  CITY,  4100  St.  Louis  Avenue 

KNOXVILLE.  317  Wall  Avenue. 

LITTLE  ROCK,  ARK.,  720  Main  Street 

LONDON,  ENGLAND,  7 Well  Court,  off  Queen  Street.  E.  C.  t 

LOS  ANGELES,  820  Traction  Avenue 

MINNEAPOLIS,  701  Third  Street,  North 

MONTREAL,  897  Centre  Street 

NASHVILLE,  Fifth  Avenue,  corner  Union  Street 

NEW  ORLEANS,  317  Camp  Street 

NEW  YORK,  52  Thompson  Street 

OKLAHOMA  CITY,  OKLA.,  20  West  California  Avenue 
OMAHA,  Corner  Tenth  and  Dodge  Streets 
PASADENA,  177  East  Colorado  Street 
PEORIA,  318  South  Adams  Street 

PHILADELPHIA,  Delaware  Avenue  and  Chestnut  Street 

PITTSBURGH,  927  Liberty  Avenue 

PORTLAND,  ORE.,  469  Everett  Street 

RICHMOND,  VA„  1315  E.  Main  Street 

ROCHESTER,  389  East  Main  Street 

SAGINAW,  MICH.,  118  Lapeer  Avenue 

SALT  LAKE  CITY,  53  West  Broadway 

SAN  ANTONIO,  135  West  Commerce  Street 

SAN  FRANCISCO,  454  Second  Street 

SAVANNAH,  737  Wheaton  Street. 

SCHENECTADY,  326  State  Street 
SEATTLE,  512  First  Avenue,  South 
SPOKANE,  157  South  Post  Street 
ST.  LOUIS,  Second  and  Clinton  Streets 
TORONTO,  1 Leslie  Streei 
TULSA,  OKLA.,  118  South  Cheyenne  Avenue 
UTICA,  49  Franklin  Square 
VANCOUVER,  827  Powell  Street 
WACO,  720  Austin  Street 
WASHINGTON,  D.  C.,  831  Munsey  Building 
WICHITA,  KAN.,  135  Rock  Island  Avenue 
WICHITA  FALLS,  TEXAS,  813  Ohio  Avenue 
WINNIPEG,  110  Sutherland  Avenue 


DURING 

THE 

LAST  SIXTY  YEARS  THIS 

HAS  BECOME 

ONE  OF  THE  BEST  KNOWN 

TRADE  - 

MARKS  IN  THE  WORLD.  IT 

STANDS 

FOR 

THE  HIGHEST  QUALITY 

AND  IS 

THE 

BUYER’S  PROTECTION  IN 

MAKING 

HIS 

PURCHASES  OF  PAINTS 

VARNISHES,  : 

STAINS,  ENAMELS,  INSEC- 

TICIDES 

AND 

KINDRED  PRODUCTS. 

ll!llill!il!!!l!l!lllli!ll!!!llil!l!ll!llllll!!ll!IIIIIIM^ 


THE 


HOME  PAINTING 
MANUAL 


A Complete  Handbook  on  Home  Paint  ini/  and  Decorat  in;/ 
Poll  Tn formation  About  Paints  and  Varnishes 
and  Their  Application 


Price  . )0c 


The  Sherwin-Williams  Co. 

601  CANAL  ROAD,  N.  W..  CLEVELAND,  OHIO 


iiiiiiiiin 


COPYRIGHT  1 922 


BY 

The  Sherwin-Williams  Co. 

CLEVE  LAN  D,  OHIO 


\ II  rights  r«*s»*rv’e<l 


AVtRY  U8RARV 
COLUMBIA  UNlVF  RSi TT 


Printed  in  f . *S\  A . 


Contents 


Page 

HOME  UPKEEP 0-11 

THE  FOUR  PURPOSES  OF  PAINT  AND  VARNISH 

For  Preservation 13 

For  Decoration 14 

For  Economic  Reasons  14 

For  Sanitation — 15 

THE  RIGHT  USE  OF  PAINT 

Preparing  the  Surface 17 

Applying  the  Paint  17 

Painting  New  or  Very  Old  Spongy  Surfaces ...18 

Painting  Old  Surfaces  Previously  Painted 18 

The  Priming  Coat  Very  Important 18-19 

How  to  Properly  Mix  Prepared  Paint 22 

Prepared  Paint  vs.  Hand  Mixed  - 23-24 

Brushes — The  Kind  to  Use  and  How  to  Use  Them 25-26 

Some  Painting  Don’ts. 27 

Helpful  Suggestions 28 

ESTIMATING 

Exterior  Estimating 29-31 

Interior  Estimating  32-34 

Table  of  Covering  Capacities  32-35 

INDIVIDUAL  TREATMENT  IN  EXTERIOR  PAINTING 

The  Prominent  Location 38 

The  House  with  Close  Neighbors  38 

How  Color  Influences  the  Appearance  of  Surfaces ..  .39 

The  Small  House 39 

The  Large  House 39 

The  Tall,  Narrow  House. 41 

INTERIOR  FINISHING— WOODWORK  AND  FURNITURE 

To  Remove  Paint  or  Varnish 47 

Varnishing 48-52 

To  Refinish  Woodwork  and  Furniture  Previously  Painted  or 

Varnished 48-49 

Practical  Varnishing  Suggestions ; 51-53 

Use  of  Sandpaper 51 

How  to  Produce  a Rubbed  Finish 52 

The  Dull  Rubbed  Effect.- 52 

A High  Polish.— 53 

The  Use  of  Stains  in  Interior  Finishing 53-56 

Purposes  and  Use  of  Paste  Filler 56-57 

Handcraft  System  Effects  forWoodwork  and  Furniture  57-60 

To  Enamel  Woodwork  and  Furniture 60-63 

Floorlac  Method  of  Refinishing  Woodwork  and  Furniture 63-65 

A Painted  Finish 66 


[ Page  3 ] 


THE  TREATMENT  OF  FLOORS 

Finishing  New  Floors:  Page 

Varnished  Finish  (hard  or  soft  wood)._ 67-69 

Waxed  Finish  (hard  or  soft  wood).... 69 

Stained  Finish  (hard  or  soft  wood) 69 

Varnish  Stain  Finish 70-71 

Painted  Finish  (hard  or  soft  wood)._ 71 

Refinishing  Old  Floors: 

Filling  the  Cracks 73 

Varnished  Finish  (hard  or  soft  wood) 73 

Waxed  Finish  (hard  or  soft  wood). 75 

Varnish  Stain  Finish  (hard  or  soft  wood) 75 

Painted  Finish  (soft  wood) 75 

Linoleum  75 

Dancing  Floors 76 

Care  of  Floors 77 

Cement  Floors 77 

INTERIOR  WOODWORK — Some  of  the  Best  Cabinet  Woods  and 
How  to  Finish  Them 

Oak. 81-83 

Chestnut 83 

Ash.— 84 

Pine 84 

Oregon  Pine  or  Douglas  Fir 85 

Mahogany.— 85-88 

American  Walnut 88-89 

Birch._ 89-90 

Cherry _91 

Cypress 91-92 

California  Redwood —92 

Gum  Wood 92-93 

Specifications  for  Wood  Panels 95-103 

COLOR  HARMONY  APPLIED  IN  THE  HOME 

Color  Chart. —106 

Three  Kinds  of  Color  Harmony 

Monochromatic  Harmony 107-109 

Analogous  Harmony 109 

Complementary  Harmony 109-110 

Balance  in  Color  Harmony 110 

The  Room  in  Blue.— 110-111 

The  Room  in  Pink. 111-113 

The  Room  in  Green 113-114 

The  Room  in  Yellow 114-115 

WALL  AND  CEILING  TREATMENT 

Sherwin-Williams  Flat-Tone  Glazing  System:  To  Blend  a 

Wall  Color 118-119 

Plain  Color  Flat-Tone  Walls  120-121 

Flat-Tone  Multi-Color  Stipple  Effects: 

Preparation  of  the  Sponge : 121 

Colors  Required  for  Stippling 123 

[ Page  4 ] 


WALL  AND  CEILING  TREATMENT— Continued 

Flat-Tone  Multi-Color  Stipple  Effects:  Pages 

Directions  for  Applying  the  Stipple  Color. 124 

Amount  of  Stipple  Color  Required 124 

To  Clean  the  Sponge .124 


STENCILS 

Wall  Stencils — Their  Use  and  Application 126-127 

The  Block  Stencil 129 

Shading  with  the  Brush 129-130 

How  Strong  to  Make  the  Stencil  Color  131 

The  Outline  StenciL 131-132 

Stencil  Paint  and  Its  Preparation 134 

To  Reduce  Strength  of  Color 135 

How  Thick  or  Heavy  to  Have  the  Paint 135 

The  Placing  of  the  Stencil 135 

Handling  of  Corners 136 

Trimming  the  Stencil  . 136 

Stencil  Guides 136 

Stencil  Rules ... 138 

Other  Interesting  Uses  of  Stencils 138-139 

MISCELLANEOUS  INTERIOR  FINISHING 

Andirons  .149 

Baseboards..  153 

Bath  Tubs 149-150 

Bedsteads  .....  150 

Boilers 152 

Chairs. 150 

Clothes  Closets. 151 

Cement  and  Concrete  Floors 154 

Cupboards.- .153 

Fixtures.- 151 

Flower  Boxes 153 

Furniture 151 

Ornamental  Iron  149 

Piping 152 

Radiators 149 

Refrigerators .153 

Shelves 153 

Sinks 149 

Stationery  Tubs 154 

Stove  Pipes.. 152 

Toys— 153 

Water  Boilers 152 

W'ater  Pipes 152 

Wainscoating 153 

Window  Sills 153 

Making  the  Basement  Attractive  153-154 


[ Page  5 ] 


MISCELLANEOUS  EXTERIOR  FINISHING  Pages 

Staining  Shingles 155 

The  Doors,  Porch  Ceilings,  etc 156 

Painting  the  Porch  Floor  and  Steps  - 157 

Painting  the  Blinds 158 

Gutters,  Downspouts,  etc. ... 159 

Painting  the  Screens 159 

Painting  Brickwork  159-160 

Painting  Concrete  and  Stucco...  161 

Roof  Upkeep 161-162 

Painting  the  Garage 162 

Painting  Porch  and  Lawn  Furniture..  162 

Painting  Fences,  Arbors,  Trellises,  etc.— .163 

Painting  Metal  Surfaces  - 163 

Painting  Galvanized  Iron 164 


CLEANSERS  AND  POLISHES 

The  Washing  of  Painted,  Varnished  and  Enameled  Surfaces  166-167 


Cleaning  and  Polishing  Furniture  and  Woodwork 168 

Care  of  Brass  and  Other  Metal  Surfaces  168 

Cleaning  and  Polishing  Floors 168 


List  of  Color-Page  Illustrations 


Exterior  Page 

A Neighborhood  of  Homes 8 

A Small  English  Stucco  Residence 12 

A Home  in  Colonial  Yellow 10 

A Cozy  Little  Farm  Cottage 20 

The  Bungalow  Home _ _ 30 

The  Little  Gray  Cottage _ 30 

A Happy  Treatment  for  the  Dutch  Colonial  Home  _ 40 

Interior 

A Hospitable  Hall  40 

A Living-Room  in  Old  Ivory,  Blue  and  Mulberry 50 

A Dining-Room  in  Gray 54 

A Breakfast  Room  in  Blue  and  Tan 58 

A Kitchen  in  Ivory  and  Blue 04 

A Bath  Room  in  Soft  Sea  Green  08 

A Man’s  Room _ 72 

A Homey  Living-Room 74 

A Dining-Room  in  the  Spirit  of  Old  Colony  Days  78 
A Charming  Living-Room  in  Gray  and  Green.  _ _ 104 

A Cheerful  Dining-Room  in  Modern  Treatment 108 

A Comfortable  Living-Room __  110 

A Colorful  Dining-Room __  122 

A Dainty  Bedroom  in  Ivory  Tan  and  Blue  _ 128 

A Colonial  Bedroom  132 

11  ood  Finishes 

Reproduction  in  Color  of  Stain  Effects  on  various 


woods 82,  80,  90,  94,  98 


I Page  7 | 


A Neighborhood  of  Homes  Specijiratums  on  page  1W 


Chapter  I 

Home  Upkeep 

Home  upkeep  is  a matter  of  vital  importance  to  every 
home  owner.  This  for  two  major  reasons : 

1.  It  protects  the  investment  of  three,  five,  ten, 
twrenty-five,  thousand  dollars,  or  more;  good  money 
which  needs  protection  as  much  as  money  put  into  a 
bank. 

2.  It  makes  your  home  a place  where  life  is  worth 
the  living. 

Home  upkeep  without  painting  and  varnishing  is  impossi- 
ble; in  fact,  paint  and  varnish  are  the  principal  factors  in  the 
upkeep  of  buildings.  Therefore  the  use  and  possibilities  of 
painting  should  be  given  thought  and  attention  by  every  owner 
of  property.  This  book  has  been  prepared  especially  to  help 
home  owners  get  best  results  in  the  painting  and  decorating 
of  their  homes. 

The  possibilities  in  the  production  of  the  ideal  home, 
through  the  intelligent  use  of  paint  and  varnish,  are  beyond 
the  conception  of  anyone  who  has  not  studied  the  subject. 
It  is  not  money  alone  which  makes  a beautiful  home.  It  is 
no  more  expensive  to  have  one’s  home  well  thought  out, 
attractive  and  inviting,  than  to  have  it  ill-considered  and 
ordinary.  The  difference  is  chiefly  in  knowing  how — good 
taste  and  the  use  of  the  right  finishes.  Harmony  is  essential 
and  this  involves  the  proper  treatment  of  everything  from 
basement  to  ridgepole. 

The  color  plates  in  this  book  show  what  can  be  done  in 
various  types  of  houses  by  the  tasteful  selection  of  color 
schemes  to  suit  each  individual  type.  The  text  matter  tells 
how  to  get  any  of  the  effects  shown,  as  well  as  many  more. 

In  addition  to  the  larger  operations  of  painting  and  deco- 
rating, there  are  many  opportunities  in  every  home  to  trans- 
form dark  corners  into  bright  spots;  renew  marred  and 


[ Page  9 ] 


scarred  woodwork  or  furniture,  refinish  a worn  floor, 
beautify  an  unsightly  wall,  repaint  the  porch  furniture,  etc. 
The  judicious  use  of  a little  thought  and  very  little  expense 
will  accomplish  wonders  in  this  direction. 

Many  suggestions  for  refinishing  the  little  things  in  and 
about  the  house  will  be  found  in  this  book.  In  fact,  we  have 
tried  to  make  it  what  the  name  implies,  a manual  covering 
the  use  of  paint  and  varnish  materials  about  the  house,  to 
which  anyone  may  turn  for  any  information  they  may 
desire  on  the  subject. 

However,  we  do  not  wish  to  convey  the  impression  that 
all  of  the  methods  of  painting  described  in  this  book,  and 
all  of  the  effects  shown  in  the  color  plates,  can  be  accomplished 
by  the  householder  with  the  same  degree  of  excellence  as  if 
done  by  the  professional  painter.  All  high  class  interior 
work,  fine  pieces  of  furniture,  etc.,  should  be  done  by  an  ex- 
perienced decorator  or  finisher,  and  all  major  outside  painting 
jobs  should  be  done  by  a practical  painter,  whose  experience 
in  diagnosing  the  absorption  power  of  various  woods  and 
judgment  regarding  the  painting  of  any  particular  surface 
are  essential  to  the  best  possible  results  in  painting. 

Nevertheless  much  painting  and  varnishing  can  be  done 
by  the  home  owner  and  housewife  with  splendid  results  if  all 
directions  are  carefully  followed,  but  it  should  be  remembered 
that  first  class  results  require  the  observance  of  a number  of 
points. 

For  instance  good  brushes  are  necessary.  The  painter 
uses  good  brushes  and  pays  the  money  necessary  to  get  them, 
yet  many  people  without  the  painter’s  experience,  buy  the 
cheapest  kind  of  brushes  and  wonder  why  they  do  not  get 
good  results.  Brushes,  if  previously  used,  should  also  be 
cleaned  with  the  utmost  thoroughness  before  using  again. 

Another  important  thing  is  to  clean  the  surface  thoroughly 
before  starting  any  painting  or  varnishing.  If  this  is  not  done, 
the  quality  of  results  will  not  be  of  the  highest  standard,  and 
peeling,  cracking  and  checking  are  liable  to  occur  within  a 
very  short  time  after  application. 

If  directions  call  for  sandpapering,  this  should  be  done 
by  all  means,  as  it  helps  very  materially  in  getting  the 
finished  result. 


[ Page  10  ] 


The  length  of  time  between  coats  called  for  on  the  direc- 
tions should  also  be  observed.  In  some  cases  the  material 
may  appear  to  be  dry  before  this  time,  whereas  in  reality  it 
may  only  be  surface-dry,  and  if  re-coated  too  soon  the  fin- 
ishing coat  may  never  dry  thoroughly  or  may  go  to  pieces 
within  a comparatively  short  time  after  application. 

The  foregoing  are  some  of  the  principal  things  that  should 
be  observed.  All  work  should  be  done  carefully  and  with 
interest,  and  directions  followed  throughout.  If  this  be  done 
the  results  will  be  pleasing. 


[ Page  11  ] 


Small  English  Stucco  Residence  Spr,;r,r„t;,,„s o»  poor  m 


Chapter  II 

The  Four  Purposes  of  Paint  and  Varnish 

There  are  four  major  purposes  of  painting— for  pres- 
ervation, for  appearance,  for  economic  reasons  and  for 
sanitation.  Each  of  these  alone  is  of  much  importance 
to  the  owner  of  property.  Some  of  the  principal  factors  to 
be  considered  under  each  caption  are  as  follows : 

For  Preservation 

The  chief  reason  for  painting,  and  one  that  is  becoming 
more  and  more  recognized  all  the  time,  is  that  of  preservation. 
The  decay  of  structural  materials  is  rapid.  The  microscope 
will  record  the  initial  start  of  such  decay  even  after  24 
hours’  exposure  of  some  building  products;  and  the  naked 
eye  is  sufficiently  strong  to  perceive  the  erosion  that  is  often 
evidenced  in  a few  weeks. 

Paint  is  the  ideal  wood  preservative,  sealing  the  pores 
of  the  wood  and  preventing  the  entrance  of  decay- 
producing  organisms.  You  have 
probably  noticed  the  very  com- 
prehensive series  of  advertise- 
ments published  in  the  magazines, 
entitled  “Save  the  Surface  and  You 
Save  All.”  That’s  the  secret  of 
building  preservation.  The  surface 
is  the  danger  point.  That  is  where 
disintegration  begins.  Everything 
with  a surface  needs  surface  protec- 
tion. Good  oil  paint  affords  best 
possible  protection  to  out-buildings, 
sheds,  posts,  fences,  wagons,  imple- 
ments, windmills,  automobiles,  etc. 

Oil  paint,  when  applied,  dries  to  a 
continuous  elastic  film  of  metallic, 
wear-resisting  pigments. 


The  piece  of  siding  at  the  left 
was  taken  from  a house  left  un- 
painted for  a number  of  years. 
The  one  at  the  right  was  from 
another  building  erected  about 
the  same  lime  and  which  was 
painted  whenever  necessary. 

1 Photograph  courtesy  of  //.  A. 
Gardner.) 


[ Page  13  ] 


For  Appearance 

Painting  has  been  in  the  past,  and  is  today,  very  largely 
done  for  appearance — or  at  least  appearance  has  been  the 
determining  factor  in  a large  majority  of  cases. 

We  paint  because  our  property  looks  shabby;  we  paint 
because  other  people  in  the  neighborhood  do.  We  do  not 
want  our  building  to  look  bad  by  comparison. 

Noted  economists  tell  us  there  is  no  better  way  to  judge 
the  prosperity  and  civilization  of  people  than  by  the  appear- 
ance of  their  houses.  The  prosperity  and  standing  of  the 
individual  among  his  friends,  neighbors,  and  business  asso- 
ciates is  judged  largely  by  this  factor. 

And  appearance,  in  itself,  is  sufficient  reason  for  painting. 
The  appearance  of  your  house  is  as  important  as  the  appear- 
ance of  your  clothes — and  for  the  same  reason. 

If  your  house  looks  shabby  you  cannot  afford  not  to  paint. 

For  Economic  lleasons 

Painting  is  insurance  against  decay.  This  factor  alone 
makes  painting  good  business,  in  fact,  painting-insurance  is 
a better  proposition  than  fire-insurance  because  painting 
insures  against  certain  deterioration,  repair  bills  and  financial 
loss;  while  fire  insurance  insures  only  against  the  possibility 
of  fire,  which  may  never  occur. 

Paint  also  has  a loaning  value  at  the  banks.  A banker 
will  loan  more  money  on  well 
painted  property  than  on  a place 
that  is  unpainted  or  rundown.  A 
recent  investigation  in  the  middle 
west  as  to  the  value  of  paint  upon 
farm  buildings,  developed  the  infor- 
mation that  bankers  would  loan  from 
5 to  50%  (the  average  being  25%) 
more  on  property  where  buildings 
were  well  painted  and  kept  in  good 
condition  than  on  property  where 
this  was  not  the  case. 

Paint  also  has  a salesmanship 
value.  A young  couple  wanted  to 
sell  their  home.  Before  trying  to  sell 


Photograph  of  stucco  left  un- 
painled.  Note  cracks  and  por- 
ous nature  of  surface.  Moisture 
enters  cracks  and  seeps  through 
wall.  Paint  effectively  prevents 
this.  ( Photograph  courtesy  of 
H.  A . Gardner.) 


[ Page  14  ] 


it,  they  decided  to  paint  and  decorate  it.  A neighbor  said, 
“Why  on  earth  are  you  doing  all  the  painting  if  you  are  going 
to  sell?” 

“The  painting  may  cost  us  $400,  but  we  will  get  $1,000  to 
$1,500  more  for  the  house  and  will  sell  it  quicker.” 

They  did  so,  and  as  a matter  of  fact,  the  decoration  so 
pleased  a lady  who  was  looking  at  it,  that  her  husband  closed 
the  deal  then  and  there  for  cash. 

Even  if  you  are  not  trying  to  sell  your  house,  if  it  is 
attractively  painted,  there  is  a possibility  of  getting  an 
offer  any  time  that  will  yield  so  much  profit  that  you  cannot 
afford  to  turn  it  down. 

Painting  is  a good  investment  and  anyone  can  demon- 
strate this  to  his  own  satisfaction  with  a little  reasoning. 


For  San  Hat  ion 

From  the  standpoint  of  sanitation  and  hygiene,  buildings 
should  be  kept  properly  painted. 

“The  future  of  paint  is  to  add  to  beauty,  preservation  and 
economy  the  ten  million  times  more  important  factor,  health,” 
said  the  well  known  chemist,  Henry  A.  Gardner,  of  the  In- 
stitute of  Industrial  Research 
at  Washington.  Well  painted 

buildings  are  necessary  to  the 

"■  -ill  BjljK  most  sanitary  conditions  pos- 
I V - vjrt.  RtSai  sible.  Paint  resists  moisture, 

vermin,  germ  life.  Paint  meets 
the  problem  of  sanitation  at 
its  source;  accomplishing  its 
results  by  the  prevention 
rather  than  the  destruction  of 
filth.  Nothing  more  need  be 
said  on  this  subject,  as  certainly  everybody  wants  his  home 
to  be  as  sanitary  as  possible. 


Weather  quickly  destroys  unpointed  prop- 
erty when  decay  once  gels  a start. — ( Photo 
courtesy  of  //.  ,4.  Gardner.) 


[ Page  15  ] 


Horne  in  Colon  in  I Yellow  S pec ijicnl  ions  on  page  142 


Chapter  III 

The  Right  Use  of  Paint 

GOOD  results  in  painting  depend  largely  upon  the  prop- 
er condition  of  the  surface,  correct  application  of 
the  paint,  and  favorable  weather  conditions.  We 
are,  therefore,  making  this  chapter  on  “The  Right  Use  of 
Paint”  just  as  definite  and  practical  as  possible;  giving  a 
general  resume  of  painting  principles,  as  well  as  practical 
hints  that  will  help  you  get  better  results. 

Preparing  the  Surface 

On  new  exterior  work,  all  knots  and  pitchy,  sappy  places 
should  be  brush-coated  with  shellac  shortly  before  the  appli- 
cation of  first  coat  to  prevent  the  pitch  coming  through  the 
paint  later.  (Cracks  and  nail  holes  should  not  be  puttied 
until  after  the  priming  coat). 

If  the  building  has  been  previously  painted,  all  old,  loose 
paint  should  be  removed  with  a wire  brush  or  scraper.  If  in 
very  bad  condition  it  may  be  necessary  to  burn  off  the  old 
coating  with  a painter’s  torch. 

Always  see  that  the  surface  to  be  painted  is  free  from  dirt, 
dust  and  grease.  Paint  will  not  hold  onto  such  surfaces,  and 
it  is  almost  sure  to  peel.  It  is  often  advisable  to  wash  surfaces 
that  are  extremely  dirty  and  greasy,  before  applying  the 
paint.  (S-W  Flaxoap,  a linseed  oil  soap,  is  ideal  to  use  for 
this  purpose.) 


Applying  the  Paint 

Paint  should  always  be  stirred  to  an  even  and  creamy 
consistency  immediately  before  and  during  application. 

Exterior  paint  should  be  applied  with  brush  scant-full  and 
brushed  onto  the  surface  with  a stroke  from  left  to  right  and 
back  again. 


[ Page  17  ] 


Use  Plenty  of  Elbow  Grease" 

Plenty  of  “elbow  grease”  should  be  used  to  brush  the  paint 
well  into  the  pores  of  the  wood  and  to  spread  it  into  thin, 
uniform  coats.  It  is  better  to  have  paint  brushed  out  too  thin 
than  to  flow  on  thick,  heavy  coats  which  may  look  better 
temporarily,  as  too  heavy  a coating  does  not  dry  thoroughly 
and  is  likely  to  crack  and  prevent  the  surface  from  ever  being 
properly  repainted,  unless  all  the  heavy  undercoats  are 
burned  off. 

New  or  Very  Old  Spongy  Surfaces 

To  insure  good  results  on  new  or  very  old  spongy  surfaces, 
three  coats  should  always  be  applied.  Sufficient  pure  raw 
linseed  oil  should  be  added  to  the  first  and  second  coats  to 
properly  fill  the  wood  and  still  leave  enough  oil  to  bind  the 
pigment  thoroughly.  Some  turpentine  also  should  be  added 
to  the  first  and  second  coat,  especially  in  the  case  of  new  sur- 
faces which  are  hard  and  resinous.  Turpentine  is  added  in 
the  first  coat  to  insure  proper  penetration  and  in  the  second 
coat  principally  to  cut  the  gloss  sufficiently  to  enable  the 
succeeding  coat  to  adhere  without  “crawling.” 

Old  Surfaces  Previously  Painted 

For  old  work  previously  painted,  two  coats  should  always 
be  applied — three  are  better.  On  surfaces  which  are  hard  and 
impervious,  equal  parts  of  pure  spirits  of  turpentine  and  pure 
raw  linseed  oil  should  be  used  in  reducing  the  paint  to  a thin 
consistency  to  secure  proper  penetration  and  homogeneous 
drying  of  the  new  coat.  A first  coat  should  never  be  applied 
without  some  turpentine  in  it.  In  three-coat  work,  the 
second  coat  should  be  reduced  the  same  as  the  first,  except 
use  about  half  the  proportion  of  the  reducers. 

Priming  Coal  Very  Important 

The  idea  that  any  old  paint  will  do  for  priming,  since  it 
is  covered  over  anyway,  is  absolutely  wrong — in  fact,  just  the 
opposite  is  true — the  priming  coat  is  the  foundation  coat 
which  is  applied  directly  to  the  wood  and  consequently  is 
most  important  of  all  because  the  subsequent  coats  are  de- 
pendent upon  it.  If  there  is  to  be  any  difference  in  quality 
the  priming  coat  should  be  the  better. 


f Page  18] 


Although  the  priming  coat  should  be  of  the  highest  quality, 
it  is  necessary  that  it  be  thinner  in  consistency  than  the  other 
coats  so  as  to  properly  penetrate  and  provide  a “tooth”  to 
grip  the  surface,  at  the  same  time  to  fill  and  seal  the  pores  of 
the  wood  and  still  leave  sufficient  oil  to  produce  a proper  paint 
film. 

In  some  localities  yellow  ochre  and  mineral  reds,  such  as 
Venetian,  rossie  and  other  oxides,  have  been  used  for  primers 
and  these  particularly  should  be  avoided  as  they  are  totally 
unfit  for  use  as  a priming  coat  which  is  to  be  subsequently 
coated  with  lead  and  zinc  paint.  These  pigments  come  in  dry 
form  and  do  not  combine  readily  with  linseed  oil.  Many  of 
the  particles,  unless  actually  ground  in  oil, are  never  thoroughly 
saturated — so  that  after  being  applied  to  the  surface,  much 
of  the  oil  is  absorbed  by  such  particles,  with  the  result  that 
there  is  not  sufficient  oil  left  to  provide  a proper  film. 

Such  primers  seldom  dry  thoroughly  and  cause  permanent 
“tackiness’’ and  oftentimes  peeling.  Then,  too,  the  nature  of 
these  pigments  is  such  as  to  make  them  very  difficult  to 
spread  to  any  degree  of  uniformity  over  any  large  amount 
of  surface. 

It  is  always  advisable  to  use  the  same  paint  for  the  priming 
coat  as  will  be  used  for  the  finishing  coat,  except  it  should  be 
reduced  to  the  desired  consistency  according  to  the  directions. 


Never  paint  before  plaster  or  wet  basements  have  dried 
out,  or  around  fresh  mortar  beds 

The  interior  plaster  work  of  a new  building  should  always 
be  allowed  to  dry  thoroughly  before  applying  paint  to  the 
exterior  of  a building.  Every  yard  of  green  plaster  contains 
nearly  a gallon  of  water,  and  unless  thorough  ventilation  is 
given  and  the  moisture  is  allowed  to  evaporate  and  escape  in 
that  way,  it  is  forced  to  escape  through  the  siding;  in 
which  event  the  result  would  inevitably  be  blistering  or 
peeling,  even  though  the  siding  may  have  been  thoroughly 
dry  when  put  on. 

Painting  around  fresh  mortar  beds  should  also  be  avoided 
on  account  of  the  tendency  of  the  oil  in  any  paint  to  absorb 
the  moisture  and  fumes  from  the  lime. 


f Papre  19  ] 


Do  not  paint  in  direct  heat  of  sun  or  in  damp  or  very 
cold  weather 

Painting  in  the  direct  heat  of  the  Summer  sun  should  be 
avoided  to  the  greatest  extent  possible,  as  it  will  blister  the 
paint.  Paint  on  the  shady  side  of  the  building  as  much  as 
possible.  Painting,  however,  should  never  be  done  during 
or  following  a dew  or  heavy  frost,  in  heavy,  damp,  foggy 
atmosphere,  or  while  the  wood  is  still  wet  from  a rain.  Good 
paint  dries  with  a sealed  film,  thereby  protecting  the  surface 
from  the  elements,  but  when  there  is  moisture  in  the  wood 
before  the  paint  is  applied,  it  is  bound  to  escape  somehow 
when  the  hot  sun  beats  down  upon  it.  The  sealed  film 
being  elastic,  in  its  effort  to  resist  it  all  it  can,  expands  into 
blisters,  which  eventually  give  way  and  burst,  causing  an 
unsightly  and  injurious  peeled  condition. 


Do  not  allow  any  coat  to  stand  too  long  before 
applying  succeeding  coat 


Do  not  apply  any  coat  of  paint  and  let  it  stand  until  the 
following  year  before  a subsequent  coat  is  applied.  It  will 
have  weathered  sufficiently  in  that  time  to  absorb  some  of 
the  elasticity  of  the  succeeding  coat,  so  that  the  final  result 
cannot  be  satisfactory.  Also  do  not  allow  any  coat  of  paint 
to  stand  until  it  is  bone  hard  before  continuing  the  work. 
One  coat  should  follow  another  within  reasonable  time  until 
the  work  is  finished.  If  the  under  surface  is  allowed  to  get 
too  hard,  it  will  not  have  the  proper  tooth  to  allow  the  succeed- 
ing coat  to  get  a grip  or  hold  on  it. 


Two  coats  or  three  coats — which ? 

Does  it  pay  to  give  the  new  home  two  or  three  coats  of 
paint  when  one  considers  the  extra  cost  of  the  third  coat? 
This  is  a question  often  asked  by  property  owners.  The  truth 
about  this  is  that,  in  many  cases,  the  second  coat  has  only 
succeeded  in  perfectly  satisfying  the  absorption  of  the  wood 
and  the  third  coat  is  required  for  adequate  protection. 

In  the  foregoing,  the  priming  coat  is  counted  as  one  coat; 
two-coat  work  meaning  a priming  coat  followed  by  a finishing 
coat,  and  three-coat  work  meaning  a priming  coat  followed 
by  two  other  coats. 


[ Page  21  ] 


How  to  Properly  Mix  Prepared  Paint 

To  secure  best  results  from  any  good  prepared  paint,  it  must 
be  properly  mixed.  The  illustrations  below  and  their  ex- 
planations tell  how  to  mix  prepared  paint  properly  and  in 
the  least  time. 

0J  i. 

I Shake  the  package 

I violently. 

/ 

4. 

Stir  the  pigment 
I^Tk  and  remaining  oil 

with  strong,  smooth 
y£viv  r\  paddle  that  is  of  a 

If  Tv^nLI  shape  which  will 

admit  of  getting 
~ around  the  edges 

and  bring  up  all  of 
the  pigment.  Do  this  until  the 

mass  is  smooth  and  entirely  uniform 
throughout. 

Cut  out  the 
whole  top. 

_ 5. 

/Tkis.  Begin  returning  the 

surplus  vehicle  a 
T\\  little  at  a time,  until 

l . all  has  again  been 
added,  stirring  con- 
stantly. 

. 3. 

kf  yj  Pour  off  into  an- 

other  package  at 

/{'I  least  two-thirds  of 

M | the  vehicle  that  has 

si  I raised  above  the 

■S3?-  pigment. 

't' m Then  “box”  the  paint 
\rY\syl  — that  is,  pour  it  back 
/Q.jt.'i  1 and  forth  from  one 
[ \ 1 pail  to  another  from 
j /I  J half  a dozen  to  a dozen 

times,  each  time  leav- 
w ing  about  one-quarter 

of  the  paint  in  the  pail  which  is 
being  emptied. 

If  the  above  method  is  followed  you  will  be  sure  not  to 
have  thick  paint  that  will  peel  or  thin  paint  that  will  not 
cover. 

[ Page  22  ] 


What  Constitutes  the  Best  Paint 

Prepared  Paint  vs.  Hand  Mixed 

The  best  paint  is  always  essential  to  best  results.  There- 
fore, in  painting  a house,  one  should  be  most  careful  as  to  the 
materials  with  which  it  is  painted.  The  best  paint  to  use  is 
undoubtedly  a high  grade  prepared  paint  made  by  a reputable 
manufacturer.  There  are  certain  definite  reasons  why  it  is 
much  better  than  hand-mixed  or  so-called  “lead  and  oil.” 

It  is  only  reasonable  that  a man  who  buys  the  materials 
and  mixes  the  paint  himself  cannot  possibly  produce  the  equal 
of  good  prepared  paint.  It  is  a case  of  hand  work  against 
mechanical  efficiency;  human  guesswork  against  exact  scien- 
tific formulae;  hand  stirring  against  machine  grinding. 

Good  white  lead  and  pure  raw  linseed  oil  make  a fairly 
good  paint,  and  for  years  was  the  best  paint  known.  In  fact, 
for  a long  period  white  lead  was  practically  the  only  base  pig- 
ment known.  It  became  a tradition  of  the  painter’s  trade  and 
anything  else  was  not  even  considered. 

To  say,  however,  that  straight  “lead  and  oil”  paint  today 
is  the  best,  would  be  to  say  that  the  world  has  progressed  in 
every  other  industry  but  that  of  paint  making.  Time  has 
changed  things.  The  paint  industry,  like  every  other,  has  ad- 
vanced and  improved.  It  was  realized  that  straight  white 
lead  (and  oil)  was  too  soft,  and  allowed  the  hot  sun  to  draw  out 
the  oil  and  oxidize  the  film,  causing  the  paint  to  lose  its  gloss, 
chalk  and  rub  off.  Effort  was  constantly  being  made  to 
remedy  this  difficulty. 

It  was  about  seventy  years  ago  that  the  use  of  zinc  as  a 
paint  pigment  was  discovered  by  a French  master  painter, 
named  Le  Clare,  who  used  it  in  his  own  work  with  such  superior 
results  that  he  was  presented  with  a gold  medal  and  Cross  of 
the  Legion  of  Honor  for  distinguished  services  rendered. 

Zinc  oxide  is  whiter  than  lead  and  possesses  greater  spread- 
ing capacity  because  it  takes  more  oil,  and,  being  hard,  holds 
the  oil  to  the  surface.  However,  it  was  soon  discovered  that 
zinc  alone  dries  too  hard  and  quickly  becomes  brittle  and 
cracks  and  peels.  Furthermore,  that  for  the  same  reason  it  is 
objectionable  for  repainting,  making  it  difficult  to  get  new 
paint  to  adhere  to  it. 


[ Patre  23  ] 


The  problem  then  was  to  incorporate  these  two  base  pig- 
ments in  the  right  scientific  proportions  so  that  the  softness 
of  the  lead  would  be  offset  by  the  hardness  of  the  zinc  and  vice 
versa,  resulting  in  a paint  having  the  virtues  of  both  and  the 
objections  of  neither,  hence  greater  body  and  opacity,  better 
ease  of  working  and  spreading,  more  absorption  of  oil  and 
greater  durability. 

After  much  experimenting  this  was  accomplished,  and 
this  combination  in  the  right  proportions  has  for  some  time 
been  recognized  generally  and  highly  endorsed  by  the  most 
reputable  paint  authorities  as  possessing  best  paint  qualities. 
However,  the  method  of  mixing  is  also  of  utmost  importance. 
For  instance,  straight  carbonate  of  lead  (white  lead)  alone  with 
straight  zinc  oxide  does  not  give  as  high  efficiency  and  as 
thorough  incorporation  as  is  the  case  when  a certain  percent- 
age of  the  former  is  combined  in  the  form  of  sulphate  of  lead, 
the  proportions  again  being  an  essential  factor.  This  is  where 
accurate  laboratory  formulae  and  accurate  measuring  of  each 
ingredient  by  weight  is  of  the  greatest  value  in  producing  the 
best  possible  paint.  Also,  the  manner  and  thoroughness  in 
which  these  ingredients  are  mixed  together  and  balanced,  are 
of  utmost  importance  and  it  is  only  natural  that  this  can  be 
done  much  more  thoroughly  by  machinery  than  by  hand. 

The  foregoing  deals  principally  with  the  pigment  portion 
of  the  paint,  but  the  liquid  portion  (or  vehicle)  is  also  of  equal 
importance.  The  first  essential  of  linseed  oil  is,  of  course,  to 
carry  and  suspend  the  pigment  in  such  a way  that  the  mass 
may  be  perfectly  fluid  until  and  during  the  process  of  appli- 
cation, after  which  it  has  a much  more  important  task  to 
perform.  Linseed  oil  supplies  the  gloss  and  is  the  very  life 
of  the  paint.  It  is  the  oil  which  fills  the  pores  of  the  wood 
and  it  is  the  oil  which  sticks  to  and  grips  the  surface  in  a 
tough,  tenacious,  waterproof  film.  It  must  harden  and  act 
as  a binder  to  hold  the  pigment  intact  on  the  surface,  yet  be 
elastic  and  weather-resisting.  For  these  reasons  it  is  neces- 
sary that  the  best  linseed  oil  be  used  in  sufficient  proportions. 

SWP  (Sherwin-Williams  Paint,  Prepared)  is  a correct 
combination  of  oxide  of  zinc,  carbonate  of  lead,  sulphate  of 
lead  and  pure  linseed  oil,  with  the  necessary  turpentine  and 
drier.  These  materials  are  all  of  the  highest  quality  and  are 
intelligently  and  scientifically  handled  so  as  to  give  the  maxi- 
mum paint  value  in  each  can  and  color. 


[ Page  24  ] 


Brushes 

The  Kind  to  Use  and  How  to  Use  Them 

Good  brushes,  and  the  right  kind  of  brushes,  are  very 
necessary  for  good  results.  A poor  brush  often  spoils  an 
otherwise  good  job.  It  is  practically  impossible  to  avoid  show- 
ing brush  marks  with  a worn  out  or  a stiff,  hard  brush. 

Brushes  are  made  in  many  different  sizes  and  shapes — 
flat,  round,  oval,  square  across  the  end,  rounded,  pointed 
and  chisel  shape.  Each  has  its  purpose. 

In  selecting  a brush,  care  should  be  taken  to  get  one  that 
fits  the  hand,  so  that  it  may  be  held  easily,  without  slipping 
or  quickly  tiring  the  hand. 

In  some  brushes,  the  bristles  are  set  in  glue;  in  some  they 
are  set  in  cement  and  others  in  rubber.  Generally  speaking, 
rubber-set  brushes  are  best.  Glue-set  brushes  should  never 
be  left  standing  in  water,  as  it  loosens  the  bristles.  Cement- 
set  brushes  should  not  be  used  in  any  finish  that  contains 
alcohol,  such  as  shellac,  as  this  will  loosen  the  bristles. 

It  is  more  than  worth  while  to  keep  your  brushes  in  good 
condition.  Never  stand  brushes  on  end.  When  necessary 
to  put  brush  down  during  the  painting  operation,  lay  it  flat 
on  a board  or  piece  of  paper.  When  through  for  the  day, 
stand  brush  in  a pail  of  water.  With  large  heavy  brushes 
a good  way  to  do  is  to  bore  a hole  through  the  handle  and 
insert  a loop  of  twine;  and  suspend  brush  by  this  loop  from  a 
stick  laid  across  the  bucket  of  water. 

When  through  with  the  painting  operation,  clean  the 
brush  out  thoroughly.  It  takes  only  a little  time  to  do  this — 
but  if  allowed  to  get  hard,  it  takes  a long  time  to  get  the 
brush  in  good  shape  again.  Much  of  the  pleasure  of  painting 
is  to  be  able  to  go  to  the  brush-keeper  and  at  once  get  a good, 
clean  brush  whenever  it  is  desired  to  do  a little  painting. 

To  clean  brushes,  use  turpentine,  benzine  or  gasoline.  A 
varnish  or  enamel  brush  should  never  be  cleaned  in  anything 
but  turpentine,  and  a shellac  brush  should  never  be  cleaned 
in  anything  but  alcohol  (denatured).  After  the  brushes  have 
been  well  cleaned  with  the  turpentine,  benzine,  alcohol,  etc., 
they  should  be  washed  in  soft  water  and  soap  and  dried  with 
a cloth.  S-W  Flaxoap  is  most  convenient  for  this.  After 


[ Page  25  ] 


brush  is  clean  it  should  be  put  away  in  a paper  bag  to  keep  it 
from  the  dust. 

Another  method  extensively  used  is  to  stand  the  brushes 
in  a mixture  of  half  turpentine  and  half  raw  linseed  oil.  A 
tack  should  be  placed  near  the  top  of  brush  handle  and  the 
brush  suspended  by  the  tack  from  edge  of  the  pail  or  other 
receptacle  used  as  a “brush-keeper.”  This  will  keep  the 
brush  from  standing  on  the  bottom  of  pail  and  curling  up  the 
bristles.  Enough  turpentine  and  oil  should  be  placed  in  the 
pail  to  cover  the  bristles. 

A small  wooden  box  should  be  placed  over  the  pail  of  brushes 
to  serve  as  a cover  and  keep  the  dust  out.  When  this  method 
is  employed,  the  liquid  in  the  pail  must  be  renewed  at  intervals, 
as  it  will  eventually  evaporate  and  allow  the  brushes  to 
harden.  Brushes,  with  the  exception  of  glue-set  ones,  may 
also  be  kept  standing  in  water,  if  the  water  is  replenished 
often. 

If  brushes  have  become  hard,  they  should  be  kept  in 
turpentine  a day  or  so  to  soften  the  paint.  Then  work  them 
back  and  forth  on  an  old  board,  and  put  back  into  the 
turpentine  again  and  work  some  more,  if  necessary.  If 
it  does  not  readily  soften  the  brushes,  stand  them  in  S-W 
Taxite,  paint  and  varnish  remover,  or  in  heated  vinegar. 
(Never  put  a glue-set  brush  in  vinegar.) 

All  brushes  will  usually  shed  a few  bristles  at  first,  but  in 
good  brushes  these  as  a rule  are  only  the  loose  ones;  and 
may  be  worked  out  in  a few  minutes  by  dipping  brush  in  the 
paint  and  brushing  it  on  an  old  board. 


( Paee  26  ) 


Some  Painting  “ Don'ts ” 

Don’t  leave  paint  uncovered  over  night. 

Don’t  leave  brushes  in  paint,  stain  or  varnish. 

Don’t  thin  paint  or  clean  brushes  near  a flame. 

Don’t  fail  to  stir  paint  thoroughly. 

Don’t  paint  on  a hot  surface.  In  the  Summer  follow  the 
shade  and  in  the  Spring  and  Fall  follow  the  sun. 

Don’t  use  cheap  brushes.  It  is  poor  economy. 

Don’t  use  a new  brush  on  a finishing  coat.  Break  it  in  on 
the  priming  coat. 

Don’t  jam  a brush  into  corners.  It  will  spoil  the  brush. 
Don’t  put  a bristle  brush  in  lime  or  any  compound  con- 
taining lime. 

Don’t  use  a paint  brush  as  a duster. 

Don’t  keep  brushes  when  not  in  use  in  a hot  or  dry  place, 
as  shrinkage  of  the  block  will  cause  the  bristles  to  loosen  and 
come  out. 

Don’t  forget  that  varnish  brushes  should  be  cleaned  with 
turpentine. 

f Don’t  forget  that  shellac  brushes  should  be  cleaned  with 
alcohol  (denatured). 

Don’t  neglect  to  cover  all  knots  or  sappy  places  with 
shellac  before  starting  to  paint,  or  the  resin  from  the  wood 
will  spoil  the  paint. 

(Don’t  neglect  to  putty  all  nail  holes  and  cracks  after  prim- 
ing coat  has  been  applied. 

Don’t  apply  thick  coats,  especially  the  priming  coats. 
Don’t  apply  new  paint  over  blistered  paint  without  scraping 
or  burning  off  the  old  finish. 

Don’t  start  painting  until  all  broken  and  leaky  gutters, 
downspouts,  etc.,  have  been  repaired. 

Don’t  forget  that  “elbow  grease”  must  be  used  to  spread 
any  paint  out  into  thin  coats  and  to  brush  it  well  into  the 
pores  of  the  wood. 


[ Page  27  ] 


Helpful  Suggestions 

To  Remove  Paint  From  Windows 

To  remove  paint  and  varnish  from  window  panes  or  other 
glass  surfaces,  use  hot  acid  vinegar,  or  for  a more  simple 
method  apply  S-W  Taxite,  paint  and  varnish  remover,  to 
soften  the  paint,  then  scrape  or  wipe  it  off. 

It  may  also  be  scraped  off  with  a safety  razor  blade  without 
the  application  of  any  softening  agent. 

How  to  Get  Paint  or  Varnish  Out  of  Clothing 

Fresh  paint,  varnish  or  enamel  may  be  removed  from 
clothing  or  rugs  with  benzine,  turpentine  or  gasoline.  Saturate 
a cloth  and  rub  the  spot  hard.  It  is  a good  plan,  wherever 
possible,  to  place  a piece  of  blotting  paper  under  the  spot — 
it  will  absorb  the  fluid  and  prevent  it  from  spreading  beyond 
the  spot. 

For  very  fine  garments  it  is  generally  best  to  use  alcohol. 

If  the  paint  or  varnish  has  become  dry,  soften  it  with 
Taxite,  paint  and  varnish  remover,  which  will  not  injure 
clothing.  After  softening,  remove  the  paint  with  one  of  the 
fluids  indicated  above. 

Care  of  the  Hands 

Housewives  will  find  it  a good  idea  to  rub  a little  vaseline 
on  the  hands  before  starting  to  paint.  The  vaseline  keeps 
the  paint  or  finishing  material  from  penetrating  the  skin. 
After  painting,  any  paint  on  the  hands  may  be  very  quickly 
removed  by  washing  the  hands  with  turpentine,  then  washing 
with  soap  and  water. 


Chapter  IV 

Estimating 

IN  this  chapter  we  are  giving  general  information  about 
estimating  the  quantities  of  various  painting  materials 
required  for  all  ordinary  home  surfaces,  exterior  and  in- 
terior. The  covering  capacity  of  all  principal  Sherwin- 
Will  iams  Products  for  home  use  are  also  given.  It  must  be 
kept  in  mind,  however,  that  this  information  can  only  be 
approximate,  as  no  two  surfaces  are  ever  exactly  alike  in 
composition  and  condition,  and  no  two  individuals  ever 
spread  paint  in  exactly  the  same  way,  some  using  more  and 
some  less  material  for  the  same  job. 


Exterior  Estimating 

No  set  method  of  estimating  can  be  correct  in  every 
detail,  as  allowances  must  be  made  for  a varying  number  of 
bays,  gables  and  other  projections,  also  for  the  difference  in 
absorption  of  various  surfaces,  as  well  as  how  thick  or  thin 
the  paint  is  applied  by  the  individual  doing  the  work.  By 
observing  the  following  directions,  however,  anyone  should 
be  enabled  to  obtain  a fairly  close  estimate  of  the  quantity 
of  material  necessary  for  exterior  painting  on  the  average 
surface. 

Body  of  Buildirifi 

To  ascertain  the  number  of  gallons  for  body  of  building, 
measure  the  distance  around  the  building  and  multiply  by 
the  average  height.  This  will  give  the  number  of  square 
feet  to  be  painted.  Divide  this  by  360,  the  number  of  square 
feet  SWP  (Sherwin-Williams  House  Paint)  will  cover,  two  coats 
to  the  gallon  on  the  average  surface,  and  the  result  will 
approximate  the  number  of  gallons  needed  for  the  body  of 
the  house. 

For  the  trimming,  cornices,  etc.,  of  the  average  type  of 
house,  allow  one-sixth  as  much  SWP  as  is  required  for 
the  body  of  building. 


[ Pape  29  ] 


The  Bungalow  Home  Specifications  on  poyr  Uil 


Blinds 

If  the  house  has  blinds,  allow  about  40  square  feet  of 
surface  for  the  average  pair  of  blinds.  Multiply  the  number 
of  blinds  by  40  and  divide  by  360  to  ascertain  the  number 
of  gallons  needed  for  all  blinds,  two  coats. 

Porch  Ceiling 

If  the  porch  ceiling  is  to  be  painted  with  SWP,  multiply 
its  length  by  its  width,  which  will  give  its  area  and  divide 
by  360  to  give  the  number  of  gallons  needed  for  this  surface, 
two  coats.  If  to  be  finished  natural,  to  estimate  the  number 
of  gallons  of  S-W  Rexpar  Varnish  needed  for  two  coats, 
divide  by  275  (covering  capacity  of  Rexpar,  two  coats). 

Porch  Floors  and  Steps 

For  the  floor,  multiply  the  length  by  the  width  and  divide 
by  360,  the  number  of  square  feet  S-W  Porch  and  Deck 
Paint  will  cover,  two  coats  to  the  gallon. 

For  the  steps,  ascertain  the  square  feet  of  surface  in  one 
step,  multiply  by  the  number  of  steps,  then  divide  by  360. 

Exterior  Doors 

Exterior  doors  of  average  size  which  are  to  be  painted 
require  about  one  pint  of  SWP.  Doors  which  are  to  be 
varnished  require  about  one  pint  of  Rexpar;  if  new  doors  of 
oak  or  other  open  grained  wood,  one  pound  of  Paste  Filler 
will  also  be  required. 

Shingles 

Shingled  roofs  to  be  stained  with  S-W  Preservative  Shingle 
Stain,  treated  in  the  usual  way  with  one  dip  coat  and  one 
brush  coat,  may  be  estimated  by  multiplying  the  length 
of.the  house  by  its  width,  and  adding  one-third  of  that  amount 
which  will  give  the  approximate  area  of  an  average  roof, 
then  divide  by  100  (covering  capacity  in  square  feet  of  Pre- 
servative Shingle  Stain,  one  dip  coat  and  one  brush  coat  to 
the  gallon).  If  there  are  any  gables,  the  area  per  gable  may 
be  ascertained  by  multiplying  the  length  of  the  rafters  by 
one-half  the  distance  from  the  cornice  to  the  peak. 

For  restaining  an  old  roof  which  has  been  previously 
stained,  for  which  one  brush  coat  is  usually  sufficient,  the 
approximate  covering  capacity  is  considered  to  be  150  square 
feet  per  gallon,  one  brush  coat. 


[ Page  31  ] 


coat  and  one  brush  coat, 
square  feet  per  gallon  for 


150 

one 


brush  coat  only. 


Table  of  Covering  Capacity  of  Sherwin-Williams 
Products 

( Approximate  on  Average  Surface  ) 

SWP  (House  Paint) 360  square  feet  per  gallon,  two  coats 

S-W  Preservative  100  square  feet  per  gallon,  for  one  dip 

Shingle  Stain 

S-W  Carbolic-ol 

Shingle  Stain 

S-W  Porch  and  Deck 

Paint 360  square  feet  per  gallon,  two  coats 

S-W  Rexpar  Varnish. .550  square  feet  per  gallon,  one  coat 
S-W  Concrete  Wall 

Finish 300  square  feet  per  gallon,  one  coat 

S-W  Commonwealth 

Barn  Paints 500  square  feet  per  gallon,  one  coat 

S-W  Roof  and  Bridge 

Paint 500  square  feet  per  gallon,  one  coat 

S-W  Metalastic 600  square  feet  per  gallon,  one  coat 


Interior  Estimating 

In  estimating  the  amount  of  materials  required  for  in- 
terior decoration,  it  is  necessary  to  figure  each  room  separately. 
The  following  estimates  are  based  on  average  conditions,  but 
it  should  be  remembered  that  the  covering  capacity  of  all 
painting  materials  will  vary  according  to  the  surface  on  which 
they  are  applied;  a rough  plaster  wall  will  require  more  than 
smooth  plaster,  a soft  porous  plaster  will  absorb  more  than 
a hard  plaster,  etc. 

Ceilings  and  Walls 

To  determine  the  quantity  of  S-W  Flat-Tone  for  three- 
coat  work  on  the  ceiling,  multiply  the  length  by  the  width, 
which  gives  the  square  feet  of  ceiling  area.  Divide  this  by 
the  number  of  square  feet  Flat-Tone  covers  per  gallon  on  the 
type  of  surface  to  be  painted,  as  shown  in  the  Table  of  Interior 
Covering  Capacities  further  along. 

The  quantity  of  Flat-Tone  required  for  three-coat  work 
on  the  walls  can  be  estimated  in  the  following  manner:  Multi- 
ply the  distance  around  the  room  by  the  height.  This  gives 
the  number  of  square  feet  of  wall  space.  Subtract  from  this 


[ Page  32  ] 


20  square  feet  for  each  window  and  21  square  feet  for  each 
door.  Divide  the  total  number  of  square  feet  by  the  number 
of  square  feet  Flat-Tone  will  cover  three  coats  to  the  gallon 
on  the  type  of  surface  to  be  painted. 

On  new  work,  the  first  coat  of  Flat-Tone  should  be  mixed 
with  Flat-Tone  Mixing  Size  in  the  following  proportions: 

Sand  finish  plaster, 

or  any  porous  plaster Equal  parts  Flat-Tone  and  Flat- 

Tone  Mixing  Size. 

Smooth  hard  plaster 1 part  Flat-Tone  Mixing  Size  to  3 

parts  Flat-Tone. 

A simple  method  to  estimate  the  quantity  of  Flat-Tone 
Mixing  Size  required  is  as  follows:  Add  the  total  number 
gallons  of  Flat-Tone  needed  for  all  coats,  walls  and  ceiling. 
Divide  this  by  4 for  sand  finish  or  porous  plaster,  or  by  6 for 
smooth  hard  plaster.  The  result  will  give  the  number  of 
gallons  of  Flat-Tone  Mixing  Size  needed  for  the  job.  This 
is  to  be  used  for  the  first  coat  only,  and  is  to  be  added  to 
Flat-Tone  in  the  proportions  indicated  above. 

Woodwork 

In  a room  of  average  size  (about  12x15)  there  is  usually 


the  following  woodwork: 

2 doors  (21  square  feet  each) 42  square  feet 

Baseboard  foot  high) 27  square  feet 

3 windows  (20  square  feet  each) 60  square  feet 

Total 129  square  feet 


The  distance  around  the  room  multiplied  by  the  height  of 
the  baseboard  gives  number  of  square  feet  in  the  baseboard. 
Should  the  surface  be  finished  natural  by  applying  a coat  of 
shellac  and  then  two  coats  of  Scar-not  Varnish,  the  procedure 
will  be  as  follows  in  estimating:  Divide  the  square  feet  of 
woodwork  by  500  (covering  capacity  per  gallon  for  one  coat 
of  shellac)  which  will  give  the  number  of  gallons  of  shellac 
necessary.  Multiply  the  square  feet  of  woodwork  by  2 (for 
two-coat  work)  and  divide  by  500  (covering  capacity  of 
Scar-not  to  the  gallon),  the  result  giving  the  number  of  gal- 
lons of  Scar-not  Varnish  needed.  To  determine  the  number 
of  gallons  of  stain  required  for  woodwork,  divide  the  area  of 


[ Page  33  ] 


the  surfaces  to  be  treated  by  500  (number  of  square  feet 
Handcraft  Stain  covers  to  the  gallon).  If  filler  is  to  be  esti- 
mated, divide  the  area  in  square  feet  by  40  (which  will  desig- 
nate the  number  of  pounds  needed). 

For  a white  enamel  finish — to  ascertain  the  quantity  of 
undercoater  required,  divide  the  number  of  square  feet  of 
woodwork  by  the  number  of  gallons  covering  capacity  of  the 
undercoater  to  be  used,  as  shown  in  the  following  Table  of 
Covering  Capacities.  To  ascertain  the  quantity  of  enamel 
required  for  the  finishing  coats,  divide  the  number  of  square 
feet  of  woodwork  by  the  number  of  gallons  covering 
capacity  of  the  kind  of  enamel  to  be  used. 

Floors 

If  floors  are  to  be  finished  natural,  three  coats  of  Mar-not 
should  be  used.  Multiply  the  area  of  the  floor  (length  times 
width)  by  3 and  divide  by  550  (covering  capacity  Mar-not 
one  gallon  one  coat). 

To  estimate  for  floors  to  be  stained,  divide  area  of  floor 
by  500  (number  of  square  feet  Handcraft  Stain  and  Handcraft 
Stain  Reducer  cover  per  gallon)  which  will  give  the  number 
of  gallons  required. 


Table  of  Covering  Capacities  of  Sherwin-Williams 
Products 

( Approximate  on  Average  Surface ) 

S-W  Flat-Tone 

On  sand  finish  walls  I 200  square  feet  per  gallon,  three  coats. 
On  very  porous  i (For  two-coat  work,  figure  300 

smooth  walls J square  fqet  two  coats  to  the  gallon.) 

On  hard,  smooth 

plaster  walls 250  square  feet  per  gallon,  three  coats. 

(For  two-coat  work,  figure  350 
square  feet  two  coats  to  the  gallon. 

(Above  covering  capacities  for  Flat-Tone  are  based  upon 
the  addition  of  Flat-Tone  Mixing  Size  to  the  first  coat,  in  the 
proportions  directed  on  the  preceding  page.  Do  not  deduct 


f Pace  34  ] 


from  the  amount  of  Flat-Tone  indicated  above  on  account 
of  adding  the  Mixing  Size.) 


On  walls  previously 

painted 250  square  feet  per  gallon,  three  coats. 

(For  two-coat  work,  figure  350 
square  feet  two  coats  to  the  gallon. 


S-W  Flat-T  one  System 

(Glaze  Color) 750  square  feet  per  gallon,  one  coat. 

S-W  Flat-Tone  Multi 

Color  Effects  One  quart  of  paint  for  each  stipple 

color  to  a room  12  x 20. 


S-W  Old  Dutch 


Enamel 

350 

S-W  Enameloid 

400 

S-W  Enamel 

400 

S-W  Enamel  Under- 

coater  No.  12 

.400 

S-W  Old  Dutch 

Enamel  Undercoater400 
S-W  Inside  Floor  Paint250 


S-W  Floorlac,  Colors  _22 5 
S-W  Floorlac,  Ground. 225 
S-W  Concrete  Floor 

Paint 250 

S-W  Handcraft  Stain.  .500 

S-W  Oil  Stain 000 

S-W  Acid  Stains 500 


S-W  Mar-not  Varnish. 550 
S-W  Scar-not  Varnish  .500 
S-W  Rexpar  Varnish. .550 
S-W  Velvet  Finish 


Varnish 450 

S-W  Mission-lac 000 

S-W  Shellac .500 

S-W  Paste  Filler  40 

S-W  Prepared  Wax 125 


square  feet  per  gallon,  one  coat 
square  feet  per  gallon,  one  coat 
square  feet  per  gallon,  one  coat 

square  feet  per  gallon,  one  coat 

square  feet  per  gallon,  one  coat 
square  feet  per  gallon,  two  coats 
square  feet  per  gallon,  two  coats 
square  feet  per  gallon,  two  coats 

square  feet  per  gallon,  two  coats 
square  feet  per  gallon,  one  coat 
square  feet  per  gallon,  one  coat 
square  feet  per  gallon,  one  coat 
square  feet  per  gallon,  one  coat 
square  feet  per  gallon,  one  coat 
square  feet  per  gallon,  one  coat 

square  feet  per  gallon,  one  coat 
square  feet  per  gallon,  one  coat 
square  feet  per  gallon,  one  coat 
square  feet  per  pound 
square  feet  per  pound,  one  coat 


[ Page  35  ] 


The  Little  Gray  Cottage 


Who  would  think  that  this  nook  of  the  woods  could  be  made 
so  interesting?  And  yet  this  little  dwelling  is  equally  at  home 
in  the  more  open  spot.  It  is  low  and  rather  rambling  and 
nestles  quite  cosily  down  amongst  the  trees.  The  gray 
shingles  should  not  be  painted  but  finished  in  a preservative 
stain  which  will  retain  all  the  texture  of  the  rough  sawn 
cedar.  The  ivory  white  trim  is  responsible  for  the  clean  ap- 
pearance of  this  color  scheme. 


Specifications  on  page  iUC 


Chapter  V 

Individual  Treatment  in  Exterior  Painting 

IT  seems  that  the  subject  of  painting,  the  correct  colors 
to  combine  and  the  right  type  of  paint  to  use  all  form  a 
topic  which  worries  the  average  home  owner,  even  though 
the  principles  involved  are  few  and  simple  to  understand. 
Obviously  the  paint  most  economical  to  use  is  that  which 
is  made  of  the  best  quality  materials  intended  for  each  surface 
to  be  protected.  We  hope,  also,  that  the  reader,  after  reading 
the  preceding  chapters,  is  thoroughly  convinced  that  it  is 
essential  to  have  these  paints  applied  by  a person  who  knows 
how  or  who  is  willing  to  study  our  instructions  and  will  follow 
these  directions  faithfully.  This  is,  of  course,  the  mechanical 
end  of  the  job. 

We  will  now  try  to  discuss  briefly,  and  in  an  interesting 
way,  the  principles  governing  the  selection  of  the  colors  to 
use  to  produce  certain  desired  results. 

Almost  every  one  has  a certain  inherent  sense  of  propor- 
tion and  a feeling  of  what  is  appropriate,  which  should  guide 
him  in  painting  his  home.  The  house  should  first  be  con- 
sidered as  to  its  setting.  Is  it  conspicuously  located  in  a 
prominent,  open  spot,  or  is  the  building  partially  hidden  by 
abundant  trees  and  shrubbery?  Also  are  there  neighboring 
houses  pressing  in  close  upon  it,  or  does  it  stand  alone?  One 
must  always  keep  in  mind  the  relation  each  house  bears  to  its 
neighbors  on  the  street.  Many  people  paint  in  white  simply 
because  it  has  become  a fad  and  because  there  is  no  difficulty 
in  choosing  colors.  Howr  unpleasant  a sight  it  is,  however,  to 
come  to  a row  of  houses,  once  wrhite,  but  now  grown  shabby 
through  the  combined  action  of  smoke  and  grime  and  weather. 
Howr  much  better  to  have  used  a combination  in  color  which 
would  have  still  retained  enough  interest  through  color  con- 
trast to  make  the  soil  less  noticeable 

One  still  sees  an  occasional  blue  or  pink  house  or  some 
atrocious  shade  of  yellow  or  green,  but  this  and  the  other 


l Page  37  ] 


alternative  just  mentioned  can  be  easily  avoided.  If  you 
do  not  find  it  easy  to  make  the  decision  yourself  or  do  not 
trust  your  own  judgment,  a letter  addressed  to  the  Depart- 
ment of  Decoration,  The  Sherwin-Williams  Co.,  601  Canal 
Road,  Cleveland,  Ohio,  will  always  bring  the  desired 
assistance,  without  charge. 

Do  not  take  it  that  we  mean  that  white  should  never  be 
used.  Quite  the  contrary.  There  are  certain  homes,  such  as 
the  small  cottage,  which  are  better  in  white  than  in  any 
other  treatment.  Then  too,  by  using  a fine  gloss  white,  such 
as  SWP,  the  house  can  be  washed  down  every  year  with 
Flaxoap  and  water,  renewing  the  clean  appearance.  This 
practice  has  become  very  general  in  the  downtown  districts 
of  our  big  cities,  where  even  the  white  tiled  buildings  soon 
become  grimy. 

The  Prominent  Location 

Generally  speaking,  the  building  situated  in  the  conspicu- 
ous plot  appears  best  in  the  most  simple  treatment.  Neutral 
grays  or  drabs,  with  lighter  gray  or  ivory  white  for  trim,  are 
very  satisfactory.  If  there  is  much  ornament  or  grill  work, 
render  this  in  the  body  color  so  as  to  keep  it  less  noticeable. 

Where  there  are  plenty  of  trees  and  shrubs,  light  colors 
are  advisable  for  both  the  large  and  the  small  house.  But 
where  the  building  is  unsheltered  by  trees  the  use  of  stone 
color  or  warm  drab  or  gray  will  avoid  the  bare  look  that  a 
brighter  color  would  give. 

The  House  with  Close  Neighbors 

While  it  is  possible  to  use  brighter,  cleaner  colors  in 
neighborhood  painting,  good  judgment  must  be  exercised  in 
the  work.  Where  one  house  is  painted  in  a bright  yellow,  for 
instance,  its  next  door  neighbor  should  not  be  in  a bright  green 
nor  should  it  be  in  too  dark  a brown,  just  to  be  different. 
A cream  gray  body  color  with  ivory  white  trim  and  green  roof 
would  cause  both  houses  to  appear  best.  Where  the  house 
under  consideration  is  situated  between  two  buildings  in 
strong  colors,  a neutral  tone  is  required  and  if  a shade  or  tint 
of  the  strong  adjoining  colors  can  be  used  for  either  the  trim 
or  roof  color  of  the  middle  house,  a “color  bridge’’  will  be 
formed  that  will  bind  the  three  in  harmony  and  make  every 
one  improve  in  appearance. 


[ Page  38  ] 


How  Color  Influences  the  Appearance  of  Surfaces 

The  idea  of  color  cannot  be  disassociated  readily  from 
some  surface  to  which  it  is  to  be  applied.  And  just  to  the 
extent  that  any  color  is  warm  and  expanding  in  effect,  or  cold 
and  contracting,  aggressive  or  receding,  is  that  surface  affect- 
ed to  which  the  color  is  applied. 

Light  warm  colors,  tints  and  shades  of  yellow,  make  sur- 
faces appear  larger.  Dark  colors  tend  to  make  the  surface 
appear  smaller. 

Light  gray  or  green  do  not  seem  to  change  a surface 
appearance  to  any  extent.  Bright  warm  colors,  containing 
red  or  orange,  make  a surface  seem  nearer  to  (lie  eye  than 
the  medium,  neutral  or  cold  colors  such  as  dark  gray  or  dark 
green,  especially  a blue-green. 

A practical  application  of  this  principle  is  used  in  painting 
the  pillars  of  the  porch.  A yellow  body  color,  for  example, 
with  dark  green  trim,  requires  the  pillars  in  the  yellow  rather 
than  the  green  so  they  will  hold  their  place  out  nearer  the 
eye  and  preserve  the  architectural  and  structural  value  of  the 
building. 

The  Small  House 

As  a rule,  light  warm  colors  like  SWP  496  Ivory, 
462  Cream,  387  Canary  Yellow,  470  Golden  Yellow,  385 
Straw  or  485  Warm  Drab  are  suitable  for  the  small  house,  as 
such  colors  will  make  any  building  appear  larger. 

Neutral  Colors 

Light  colors  which  are  not  warm,  such  as  SWP  354  Sea 
Green,  360  Cream  Gray,  479  Pearl  Gray  or  357  Silver  Gray, 
are  especially  pleasing  for  a building  which  is  not  surrounded 
with  trees.  These  colors,  too,  will  harmonize  with  practically 
any  color  on  the  neighboring  house. 

The  Large  Building 

The  dark  warm  colors,  of  which  SWP  393  Tobacco  Brown, 
388  Modern  Brown,  486  Golden  Brown,  499  Antique  Brown, 
382  Rich  Maroon  are  good  examples,  produce  best  results  on 
the  larger  buildings  where  it  is  necessary  to  employ  colors 
which  will  not  be  affected  by  smoke  and  dirt  and  where  the 
foliage  is  not  too  dense  to  produce  too  dark  an  effect. 

The  darker,  so-called  cold  colors,  as  SWP  353  Light  Lead 
Color,  363  Slate,  362  Crown  Green,  355  Sage  Green,  498 


[ Page  39  ] 


A Happy  Treatment  for  the  Dutch  Colonial  House 


Much  of  the  charm  of  this  simple  little  home  is  due  to 
the  effective  manner  in  which  advantage  has  been  taken  of 
the  natural  surroundings.  The  little  Dutch  garden  in  the 
foreground  provides  color  which  makes  one  appreciate  the 
clean  combination  of  ivory  and  willow  green  all  the  more. 
Bright  color  has  been  introduced  in  the  porch  curtains  and 
border  flowers.  Placing  the  living  porch  away  from  the  front 
door  affords  greater  privacy. 


Specifications  on  page  t W 


Moss  Green,  are  suitable  for  large  buildings  not  surrounded 
with  foliage  and  the  roofs  of  which  are  covered  with  slate  or 
other  dark  gray  material. 

Surroundings  and  conditions  vary,  however,  and  the  large 
building  may  be  painted  in  as  light  a color  as  Cream  and  the 
small  bungalow  cottage  in  as  dark  a tone  as  Modern  Brown. 

The  Trim  Color 

The  trimming  is  important  in  the  architectural  plan  of  the 
building  and  is  even  more  so  in  the  painting  plan,  because 
with  the  manipulating  of  the  trim  color  it  is  frequently  possible 
to  modify  the  appearance  of  the  house  to  a considerable  extent. 

The  Tall,  Narrow  House 

This  house  can  be  made  to  appear  lower  and  broader  by 
keeping  the  body  in  a light  tone  such  as  SWP  49G  Ivory, 
using  a dark  contrasting  color  for  trim,  such  as  SWP 
388  Modern  Brown.  A two-color  treatment  is  also  effective, 
using  the  darker  color  for  the  upper  portion  with  the  roof 
similar  in  color.  Such  a combination  would  be:  Lower  Body 
Color,  SWP  375  Colonial  Yellow.  Upper  Body  Color,  SWP 
499  Antique  Brown.  Trim  Color,  SWP  486  Golden  Brown. 

Following  are  a few  illustrations  of  typical  homes  with 
color  recommendations  suitable  for  each  type : 

This  dwelling  gives  a pleasing  appearance  of  neat  com- 
pactness which  furnishes  the  key  to  the  painting  treatment. 

This  is  a decidedly  well- 
groomed  house  and  the  owner 
should  keep  it  so. 

The  shingles  may  be  either 
brown  or  green,  but  the  entire 
upper  part  of  the  house,  includ- 
ing the  roof,  must  be  in  the 
same  color. 

The  lower  body  and  trim 
are  best  in  one  color,  either 
SWP  496  Ivory,  or  SWP  471  White.  SWP  355  Sage  Green 
is  an  attractive  color  to  use  for  sash. 

The  hard  line  of  the  foundation  really  ought  to  be  broken 
by  planting  such  formal  shrubbery  as  dwarf  evergreens,  blue 
spruce,  etc. 

! Page  41  ] 


This  is  a most  practical  and  liveable  type  of  home  and  is 

being  used  extensively.  Treated 
in  white  this  house  needs  bright 
green,  such  as  SWP  461  for 
the  shutters  and  S-W  Shingle 
Stain  Green  C-74  for  the  shin- 
gle roof,  also  plenty  of  foliage 
to  lend  color.  This  is,  of 
course,  an  ideal  scheme  for  the 
house  in  the  suburbs  or  in  the 
country.  Only  too  often,  how- 
ever, does  one  see  this  house  painted  all  in  white  in  neigh- 
borhoods exposed  to  smoke  and  dirt.  In  the  city  this  all- 
white  house  rapidly  becomes  soiled,  and,  unless  washed  down 
with  Flaxoap  and  water  every  season,  soon  looks  shabby. 
The  use  of  color  then  becomes  advisable. 

SWP  375  Colonial  Yellow,  with  white  trim  and  Shingle 
Stain  Green  C-72  or  Red-Brown  B-41  roof  is  excellent. 

SWP  479  Pearl  Gray,  with  white  trim  and  Shingle  Stain 
Green  C-72  roof  makes  a splendid  clean  gray  scheme.  Both 
effects  provide  color  interest. 

We  have  seen  many  of  these  homes  painted  solid  in  SWP 
496  Ivory,  with  shutters  and  sash  done  in  SWP  355  Sage 
Green,  which  were  very  pleasing. 

The  color  scheme  for  this  dwelling  should  be  selected  with 
care  so  as  not  to  produce  a 
broad,  squatty  appearance. 

The  all-white  treatment  is  not 
recommended.  Yellow  body 
color,  too,  being  an  expanding 
color,  would  increase  the  ap- 
parent size  and  width  unless 
some  dark  color  is  used  for 
trim,  such  as  SWP  498  Moss 
Green  or  SWP  388  Modern  Brown.  SWP  387  Canary  Yellow 
would  be  the  best  yellow  to  use. 

In  this  house  all  vertical  lines  should  be  emphasized  and 
in  homes  similar  to  this  all  superfluous  horizontal  lines  should 
be  disregarded,  that  is,  should  be  painted  in  the  body  color, 
as  doing  them  in  the  trim  color  would  create  a broader 
appearance. 


The  I,enox 


[ Page  42  ] 


This  scheme  is  recommended:  Body  Color — SWP  357 
Silver  Gray.  Trim  Color— White. 

Using  a light  shingle  stain  for  the  roof  such  as  our  C-74 
and  keeping  the  gable  in  a light  color — same  as  the  body — 
will  add  to  the  apparent  height  of  the  house. 

The  outstanding  feature  of  interest  in  this  house  is  the 

architect’s  handling  of  the  roof. 
This  has  been  brought  down 
low  in  the  front  so  as  to  pro- 
duce a feeling  of  snug  coziness 
usually  found  only  in  the 
small  cottage.  The  roof  occu- 
pies a large  part  of  the  space 
one  sees  when  viewing  the 
building  and  should  be  kept 
light  in  tone  so  as  not  to  contrast  sharply  with  the  body 
color.  A light  translucent  stain  will  also  preserve  the  variety 
of  color  and  texture  of  the  shingles. 

Should  this  building  be  constructed  with  weatherboarding 
the  tall  gable  should  be  rendered  in  either  stucco  or  shingles 
to  avoid  producing  a tall  ungainly  effect  which  the  house 
design  itself  really  does  not  have. 

This  scheme  is  recommended:  Roof — S-W  Preservative 
Shingle  Stain  Light  Brown,  B-44.  Body  — S-W  Concrete 
Finish  Cream.  Trim  and  Sash — SWP  499  Antique  Brown. 

The  prototype  of  this  inter- 
esting dwelling  is  the  half- 
timbered  English  cottage  with 
the  thatched  roof.  To  carry 
this  effect  through  success- 
fully, keep  the  shingles  light 
in  tone — Brown  B-44.  Stain 
the  timbering  a weathered 
brown,  B-47  and  finish  the 
stucco  in  soft  shades  of  cream  or  extra  light  gray.  Sash, 
SWP  388  Modern  Brown.  Many  houses  of  this  type  are 
built  today,  using  tapestry  brick  for  the  lower  story.  The 
use  of  brick  adds  much  interest  in  both  color  and  texture. 
Rough  shale  tapestry  brick  in  varied  tones  of  reds,  browns  and 
dark  grays  are  ideal.  The  joints  should  be  raked. 


I Papre  43  ] 


The  casual  observer  might  say  that  this  and  the  following 

house  could  be  painted  in  a 
similar  manner,  both  having  a 
central  entry,  a division  be- 
tween first  and  second  stories, 
etc.  There  are  characteristic 
architectural  details,  however, 
which  make  the  one  a mod- 
ern American  type  and  the 
other  a development  of  an 
English  type,  so  that  individual  treatment  is  necessary. 

One’s  first  impression  of  this  home  is  that  while  siding 
could  be  used  both  up  and  down  it  is  much  better  with 
shingles  for  the  upper  body  because  with  this  treatment 
more  interesting  variety  of  color  and  material  texture  is  possible. 

To  paint  the  siding  of  this  rather  broad  house  in  upper  and 
lower  colors  would  be  to  cut  it  in  two  and  make  it  look  too 
broad.  It  may  seem  strange,  but  one  can  have  a shingle 
upper  body  in  a different  tone  without  causing  this  effect, 
due  to  the  difference  in  texture. 

This  scheme  is  most  satisfactory:  Roof — Shingle  Stain 
Dark  Green  C-72.  Upper  Body — Shingle  Stain  Light  Gray 
C-82.  Lower  Body  and  Sash  — SWP  496  Ivory. 
Shutters — SWP  498  Moss  Green.  If  the  house  ns  already  in 
siding:  Roof — Shingle  Stain  Dark  Green  C-72.  Body — 
SWP  357  Silver  Gray;  or  Roof — ShingleStain  Red-Brown  B-41. 
Body — SWP  387  Canary  Yellow.  Trim — SWP  Gloss  White. 
Shutters — SWP  498  Moss  Green. 

Unquestionably,  the  second 
story  of  this  English  dwelling 
must  be  done  in  shingles.  The 
lower  body  is  equally  necessary 
to  be  rendered  in  stucco  in 
order  to  preserve  its  character. 

By  using  soft  browns  or  grays 
of  shingle  stain  the  truly 
interesting  texture  of  the  two 
building  materials  can  be  brought  out. 

This  scheme  is  in  browns:  Roof— Shingle  Stain  B-47  (a  nut 
brown);  Upper  Body — ShingleStain  B-44  (a  soft  light  brown); 
Lower  Body  and  Bays — Concrete  Finish  Cream;  Trim  and 
Sash — SWP  499  Antique  Brown. 


The  Kirtley 


[ Page  44  ] 


An  alternative  choice  in  gray  and  green:  Roof — Shingle 
Stain  Dark  Green  C-72,;  Upper  Body — Shingle  Stain  Light 
Gray  C-82;  Lower  Body  and  Bays — Concrete  Finish  Light 
Gray;  Trim  and  Sash  — SWP  490  Ivory. 

One  likes  this  cottage  because  the  design  is  simple  and  sin- 
cere, so  the  painting  treatment  should  carry  out  this  idea. 
While  the  all-white  scheme  is 
appropriate,  especially  for  the 
country  or  suburbs,  the  correct 
use  of  color  gives  much  better 
and  more  practical  results. 

SWP  .‘587  Canary  Yellow  with 
white  trim  and  Shingle  Stain, 
either  Green  C-74  or  Red- 
Brown  B-41,  for  the  roof  will 
stay  clean  and  attractive  for 
a much  longer  time  than  white.  SWP  357  Silver  Gray,  or 
SWP  479  Pearl  Gray,  are  excellent,  with  white  trim  and 
green  roof,  Shingle  Stain  C-72. 

SWP  49(5  Ivory  is  a much  better  one-color  treatment  than 
white  and  SWP  355  Sage  Green  or  SWP  461  Willow  Green 
for  sash  will  give  color  interest. 

The  intelligent  use  of  permanent  shrubs,  such  as  dwarf 
evergreens,  will  greatly  enhance  the  appearance  of  both  house 
and  yard. 


How  To  Secure  Blue  Prints 

\]rorking  Drawings  of  the  Hornes  Shown  in  this  Chapter 

While  the  Sherwin-Williams  Company  does  not  maintain  a 
Service  Department  for  supplying  blue  prints  and  working 
drawings  of  the  preceding  illustrations  shown  in  this  chapter, 
the  designers  of  these  homes  have  extended  us  the  courtesy 
of  permitting  us  to  show  them  and  any  person  wishing  to 
secure  the  blue  prints  and  working  drawings  may  do  so  upon 
fulfilling  the  regular  requirements  made  to  their  customers 
direct.  We  are  not  in  a position  to  quote  you  the  prices  on 
blue  prints,  but  your  request  will  receive  prompt  attention  and 
you  may  expect  to  hear  direct  from  the  designers.  Address 
your  inquiry  to  The  Sherwin-Williams  Department  of 
Decoration. 


[ Page  45  ] 


.4  Hospitable  Hall 

The  "hall  gives  one  his  first  impression  of  a home,  which 
should  be  one  of  cheerful  hospitality.  Cream  walls  provide 
an  air  of  sunshine  in  even  the  darkest  room,  and  in  this  hall 
one’s  first  impression  is  one  of  warm  sunshine.  The  comfort- 
able Windsor  chair  and  glorious  bouquet  of  golden-yellow 
flowers  are  evidences  of  thoughtful  consideration  provided  for 
the  friend  who  drops  in  for  a moment’s  call. 

The  blue  vase  makes  the  yellow  flowers  more  pleasing. 


Specifications  on  page  1U7 


Chapter  VI 

Interior  Finishing — Woodwork  and 
Furniture 

IN  this  chapter  we  wish  to  take  up,  in  a very  informal 
manner,  the  discussion  of  the  best  and ' most  effective 
ways  of  finishing  and  refinishing  interior  woodwork 
and  furniture. 

Much  of  the  work  requires  the  services  of  a competent 
painter  and  finisher,  but  there  are  numberless  jobs  the 
owner  can  do  himself  which  might  otherwise  be  postponed. 
These  miscellaneous  jobs  combine  to  make  a home  appear 
neat  and  tidy,  and  prompt  attention  and  the  application  of 
the  needed  paint  or  varnish,  may  mean  profit  and  quick 
action  should  the  house  ever  be  put  up  for  sale. 

To  Remove  Paint  or  Varnish 
A prepared  paint  and  varnish  remover  like  Sherwin- 
Williams  Taxite  is  most  effective,  both  because  of  its  quick 
action  and  because  it  does  not  burn,  discolor  or  raise  the 
grain  of  the  wood  as  lye  or  soda  will  do.  Taxite  comes  ready 
for  use. 

Directions  for  Using  Paint  and  Varnish  Remover 
Shake  well  before  using  so  as  to  thoroughly  agitate  the 
contents.  Apply  a generous 
coat  and  allow  to  stand.  After 
about  five  or  ten  minutes  the 
paint  or  varnish  will  be  found 
to  have  softened  so  that  it  can 
be  removed  readily  with  a dull 
putty  knife. 

Note:  It  pays  to  take  the 
precaution  of  covering  all 
painted  or  varnished  surfaces 
in  the  vicinity  of  the  operation  as,  of  course,  any  drops  of 
Taxite  touching  such  surfaces,  will  ruin  the  finish. 


Removing  old  paint  coaling  that  has  been 
softened  with  Taxite 


T Page  47  ] 


Where  the  paint  or  varnish  film  is  very  heavy  through 
repeated  paintings  or  varnishings,  a second  or  third  applica- 
tion of  Taxite  may  become  necessary. 

Note — Mouldings,  corners  and  other  difficult  parts  to 
reach  are  most  easily  cleaned  by  scrubbing  with  a small 
vegetable  brush,  dipped  in  Taxite.  After  the  bulk  of  the  old 
coating  is  removed,  wash  the  surface  with  a cloth  or  scrub 
it  with  a brush  wet  with  Taxite  to  make  certain  there  is  none 
of  the  old  finish  left. 

Important — After  the  old  material  is  removed,  scrub 
thoroughly  with  benzine  or  gasoline  to  remove  all  remaining 
Taxite,  as  any  remaining  on  the  surface  will  prevent  the  drying 
of  subsequent  finishing  coats;  then  sandpaper  surface  clean. 

Varnishing 

To  refinish  varnished  surfaces  which  are  in  good  condi- 
tion, first  wash  with  Sherwin-Williams  Flaxoap  and  water, 
rinsing  thoroughly  with  clear  water;  sandpaper  with  00  sand- 
paper and  wipe  with  a cloth  saturated  with  benzine  or 
gasoline,  then  simply  apply  one  coat  of  varnish  as  it  comes 
from  the  can.  If  a polished  or  dull  rubbed  effect  is  wanted, 
follow  directions  given  on  pages  52-53. 

Note— For  a dull  rubbed  effect  without  hand  rubbing  use 
Sherwin-Williams  Velvet  Finish  No.  lOkb.  This  varnish  is 
designed  to  be  used  as  a finishing  coat  over  a varnish  or  shellac 
finish  to  give  the  effect  of  a dull  rubbed  finish.  It  dries  dull 
without  rubbing. 

If  the  surface  to  be  varnished  is  in  only  fair  condition, 
sandpaper  thoroughly  to  remove  all  rough,  uneven  spots, 
then  apply  two  coats  of  varnish,  sanding  the  first  coat  lightly. 
The  last  coat  may  be  left  in  full  gloss  or  rubbed  to  a polish 
as  desired.  Treatment  for  varnish  surfaces  in  very  bad  condi- 
tion follows: 

To  Refinish  Woodwork  and  Furniture  Previously 
Painted  or  Varnished 

There  are  two  methods  of  procedure.  First,  to  clean  the 
surface  and  start  afresh;  second,  to  cover  the  old  finish  with 
a solid  color  and  to  build  the  finish  colors  upon  this. 

First  Method,  To  Clean  Off  the  Old  Finish 

Apply  a full  coat  of  S-W  Taxite,  paint  and  varnish  remover, 
over  the  entire  surface  to  be  cleaned  (or  as  much  as  can  be 


[ Page  48  ] 


conveniently  worked  at  one  time,  if  an  entire  room  is  being 
refinished)  and  proceed  as  directed  on  page  47. 

Second  Method.  (The  second  method  is  given  on  page  63.) 

Open-Grain  Woods 

Open-grain  woods  such  as  oak,  walnut, chestnut,  mahogany, 
etc.,  will  require  refilling  as  t lie  Taxite  and  scrubbing  usually 
removes  the  filler  as  well  as  the  finish.  Filling  the  pores  of 
the  wood  is  necessary  to  level  the  surface  for  the  finish  coats. 

Mi  ssion  Effect 

Of  course,  where  a Mission  finish  is  desired  the  filler  is 
omitted.  Apply  a coat  of  S-W  Handcraft  Stain  Fumed  Oak, 
Weathered  Oak,  Green  Weathered  Oak  or  Cathedral  Oak. 
Follow  with  a thin  coat  of  pure  White  Shellac  and  finish  with 
a coat  of  S-W  Mission-lac  or  Velvet  Finish  Varnish  No.  1044. 

Stain  Precedes  Filler 

When  re-staining  open-grain  woods  which  are  to  be  filled, 
the  stain  must  precede  the  filler.  Allow  the  stain  to  dry  over 
night  and  the  filler  to  dry  forty-eight  hours.  See  page  56  for 
directions  on  the  use  of  fillers. 

Note:  For  staining  refinished  work  a penetrating  stain, 
such  as  S-W  Handcraft  Stain,  is  necessary,  as  a water  stain 
or  an  oil  stain  is  not  able  to  penetrate  the  wood  satisfactorily. 

Sealing  the  Stain 

Wood  that  has  been  stained  should  always  receive  a 
thin  coat  of  pure  white  shellac  (orange  shellac  only  as  specially 
indicated)  before  applying  the  varnish.  Shellac  seals  in  the 
stain  which  otherwise  would  “bleed”  into  the  varnish  and 
frequently  even  interfere  with  the  drying  of  the  varnish. 
This  “bleeding”  would  cloud  the  finish,  discolor  the  brush, 
and  produce  an  uneven  and  spotted  appearance  in  the  finished 
job.  Shellac  which  is  too  heavy  should  be  reduced  with 
denatured  alcohol. 

Kind  of  Varnish  to  Use 

For  furniture  and  all  interior  standing  woodwork,  use 
S-W  Scar-not  or  Excello  Varnish. 

For  interior  floors,  use  S-W  Mar-not  Varnish. 

For  all  out-of-doors  varnishing,  window  sills  and  sash, 
always  use  S-W  Rexpar  or  Kopal  Varnish. 


[ Page  49  ] 


t hiring-  Room  hi  Old  Ivory,  Rltiv  nod  \ I ulherry 


The  simplicity  of  the  wall  treatment  permits  the  atten- 
tion to  drop  to  the  comfortable  chairs  and  the  full  rich  blue 
of  the  rug.  The  floor  lias  been  stained  dark  in  tone  to  hold 
the  scheme  together  and  provide  a feeling  of  repose  and 
solidity.  What  a homey  touch  is  furnished  by  the  small 
bouquet  of  old-fashioned  flowers — the  invitation  of  the 
thoughtful  mistress  of  this  home  that  here  one  may  sit  down 
and  refresh  himself. 


Sped Jications  on  paye  1 'lH 


Practical  Varnishing  Suggestions 

How  to  Apply  Varnish  to  Get  Best  Results 

Never  apply  varnish  with  any  but  a clean  brush.  (See 
page  25  on  how  to  care  for  brushes).  On  any  work  where  you 
are  particular  as  to  the  results,  do  as  follows: 

Pour  out  about  a half  cup  of  varnish.  Fill  the  brush  full 
of  this  varnish  and  scrape  it  out  over  the  edge  of  another 
cup.  Repeat  the  operation,  using  up  the  half  cup  of  varnish, 
and  the  brush  should  be  in  shape  to  give  good  results. 

This  varnish  may  be  strained  through  a cloth  and  can  be 
used  for  some  other  bit  of  work  where  one  doesn’t  require  the 
cleanest  material. 

Kind  of  Brush  to  Use 

A stiff  bristle  brush  is  suitable  for  use  only  on  floors  and 
should  not  be  used  for  heavier  bodied  furniture  varnish,  as 
brush  marks  would  show.  A soft  fitch  or  Russian  oxhair 
brush  is  the  best  suited  for  furniture  and  woodwork.  Use  a 
two-inch  chisel  or  oval  brush  for  large  surfaces  such  as  table 
tops,  door  panels,  baseboards,  etc.  An  inch  brush  is  very 
convenient  to  have  ready  for  small  mouldings,  corners,  etc. 
Remember  that  for  all  but  the  finishing  varnish  coats,  thin 
applications  of  varnish  are  far  superior  to  heavy  coats. 

Use  of  Sandpaper 

Sandpaper  each  coat  except  the  last,  using  00  paper. 
Sand  the  entire  surface,  rubbing  just  enough  to  remove  the 
gloss  of  the  varnish  and  produce  a smooth,  even  surface  for 
the  following  coat.  Rub  with  the  grain  of  the  wood.  The 
scratches  will  show  if  you  rub  across  the  grain. 

Applying  the  Varnish 

The  application  of  varnish  to  any  surface  may  be  divided 
into  three  operations. 

1st — Brushing  the  varnish  on  to  the  surface. 

Apply  the  varnish  freely  and  quickly,  brushing  with  the 
grain  of  the  wood. 

2nd — Spreading  the  varnish  out  in  an  even  film. 

“Lay  off”  the  surface  by  brushing  across  the  grain  of  the 
wood.  Do  this  without  refilling  the  brush,  as  this  operation 
is  intended  to  spread  the  varnish  over  any  spots  missed  the 
first  time  and  to  produce  an  even  film. 


[ Page  51  ] 


3rd — Removing  the  excess  varnish. 

Wipe  the  brush  on  the  edge  of  the  cup  to  remove  most  of 
the  varnish  and  then  “straighten  out”  the  surface  by  brushing 
with  the  grain  of  the  wood,  wiping  the  brush  occasionally 
against  the  edge  of  the  varnish  cup  so  as  to  keep  it  fairly 
dry.  When  “laying  off”  and  “straightening  out”  a panel, 
table  top  or  any  broad  surface,  always  run  the  brush  strokes 
to  the  edge  without  stopping. 

How  to  Produce  a Rubbed  Finish 

There  are  two  types  of  rubbed  finishes,  the  dull  rubbed 
effect  and  the  high  polish.  The  first  process  uses  powdered 
pumice-stone  and  rubbing  oil.  The  second  process  calls  for 
powdered  pumice-stone  and  water,  as  will  be  described  later. 
If  your  dealer  handles  more  than  one  grade  of  powdered 
pumice,  buy  the  best  as  it  will  cut  faster  and  cleaner. 

The  Dull  Rubbed  Polish 

Use  a regular  rubbing  oil  such  as  supplied  by  any  good 
paint  or  hardware  store,  or  any  good  sewing  machine  oil  will 
do.  Place  the  powdered  pumice-stone  in  any  convenient 
open  dish  and  dip  into  this  the  cloth  moistened  with  the  oil. 

Rubbing  Felt 

A heavy  piece  of  rubbing  felt  one  or  two  inches  thick 

will  be  best  and  easiest  to 
use,  although  a soft  cloth 
formed  into  a pad  will  do  for 
small  jobs. 

How  Much  to  Rub 
Usually  only  about  six  or 
eight  strokes  over  each  por- 
tion of  the  surface  are  neces- 

yf  pumice,  block  with  felt  sary  to  cut  t}je  ,,]oss  an(i  give 

tacked  on  the  ends , piece  of  heavy  rubbing  * ~ ~ 

felt,  small  vegetable  brush  for  moulding*  a satisfactory  dull  finish. 

Note:  Always  rub  with  the  grain  of  the  wood. 

Do  Not  Rub  the  Surface  With  Too  Heavy  a Pressure 

The  pumice  and  oil  naturally  soften  the  varnish  some- 
what and  too  heavy  a pressure  will  cut  clear  through  the 
film.  When  rubbing  a table  or  a panel  it  is  always  best  to 
do  the  entire  length  in  one  stroke,  at  least  the  last  few  strokes. 
This  will  avoid  any  possibility  of  a patchy  appearance. 


[ Pace  52  ] 


1 Brush  for  the  Mouldings 

Any  mouldings,  carving  or  relief  work  can  best  be  reached 
by  using  a small  vegetable  brush  moistened  with  the  oil  and 
dipped  into  the  pumice. 

To  Clean  Off  the  Surface 

Wipe  off  the  surface  with  a dry  cloth,  rubbing  with  the 
grain.  Powdered  corn  starch  sprinkled  on  the  cloth  will  help 
dry  up  the  oil. 

To  Secure  a High  Polish 

Follow  directions  just  given  for  oil  rubbing  except  that 
water  is  used  instead  of  oil.  After  the  first  rubbing  with 
pumice-stone,  wait  a day  and  then  rub  with  powdered  rotten- 
stone  and  water  for  a high  polish,  and  then  give  a final  polish- 
ing with  S-W  Polish-ol. 

Pianos  and  fine  furniture  are  usually  finished  off  in  the 
factory  after  rubbing  with  rotten-stone,  by  rubbing  with  the 
palm  of  the  bare  hand. 

Special  Note:  The  rubbing  of  fine  varnished  or  enameled 
furniture  calls  for  the  exercising  of  considerable  good  judg- 
ment, and  the  amateur  is  advised  to  have  the  piano  or  other 
expensive  furniture  refinished  by  a person  who  makes  a 
specialty  of  such  work. 

The  Use  of  Stains  in  Interior  Finishing 

To  Stain  New  Wood 

There  are  three  principal  types  of  stains  suitable  for  use 
on  new  woods:  water  or  acid  stains,  penetrating  or  spirit 
stains  and  oil  or  pigment  stains.  Each  type  has  its  ad- 
vantages. 

Sherwin-Williams  Acid  Stains 

S-W  Acid  Stains  provide  the  richest  and  most  permanent 
wood  dyes  one  can  secure. 

Sandpaper  the  wood  thoroughly  before  applying  the  stain. 
Some  recommend  sponging  the  wood  first  with  water  and  then 
sanding  the  surface  smooth  when  dry.  Apply  a full  coat  of 
the  stain,  using  a soft  brush. 

Note:  Before  applying  any  stain  make  a test  sample  on  a 
piece  of  the  same  kind  of  wood  to  make  sure  of  the  color  and 
intensity.  Acid  Stains  may  be  diluted  with  water  if  a lighter 
tone  is  desired.  Allow  to  dry  over  night  and  sand  very  lightly 


I Page  53  ] 


A Dining-Room  in  Gray 


In  this  dining-room,  found  in  an  old  Colonial  country 
home,  a Spanish  atmosphere  is  felt.  The  rounded  door  head, 
although  really  Colonial,  gives  very  much  the  same  impres- 
sion as  the  rounded  arches  in  the  Spanish  mission — the  gray 
wall  suggesting  adobe  construction  helps  this.  The  strongest 
note,  however,  is  in  the  deep  maroon  of  the  carpet,  carried  up 
to  the  solid  back  chairs,  which  might  be  done  in  Spanish 
leather  or  tapestry. 


Specifications  on  page  1 ft8 


with  00  sandpaper,  or  finer,  as  the  water  in  the  stain  will 
raise  the  grain  slightly.  Apply  a second  coat  of  stain  if  neces- 
sary because  of  the  sanding.  Brush  over  lightly  when  dry 
with  very  fine  sandpaper  or  old  worn  sandpaper. 

S-W  Handcraft  Stains 

S-W  Handcraft  Stains  are  very  satisfactory,  producing 
clean,  attractive  tones  which  are  very  permanent.  These 
stains  have  an  advantage  of  not  raising  the  grain  of  the  wood 
and  do  not  require  sanding  after  staining.  Handcraft  Stain 
Reducer  may  be  used  to  make  these  stains  less  intense  if 
desired.  Apply  with  a soft  brush  and  allow  to  dry  over 
night. 

5- W Oil  Stains 

S-W  Oil  Stains  are  popularly  priced  and  although  very 
satisfactory  for  use  on  hardwoods,  are  especially  satisfactory 
for  pine  and  all  soft  woods,  because  of  their  type. 

S-W  Oil  Stains  come  ready  to  apply  and  should  be  brushed 
freely  on  to  the  wood  and  after  standing  for  a fewr  minutes  to 
permit  penetration,  are  to  be  wiped  off  with  a soft  cloth. 
The  stained  effect  may  be  made  lighter  by  wiping  off  sooner. 

The  time  for  penetration  required  by  different  woods 
varies,  even  in  different  samples  of  the  same  wmod.  Roughly, 
oak  requires  about  five  minutes  and  pine  two  or  three  minutes. 
Allow  to  dry  over  night  after  wiping  off. 

As  stated  elsewhere,  fillers  are  necessary  on  open  grain 
woods  except  for  “mission  effect.”  These  fillers  follow,  the 
next  day,  directly  over  the  stain  (see  page  56).  Page  57  gives 
a description  of  special  art  effects  to  be  produced  over  Acid 
and  Handcraft  Stains  by  using  light  colored  fillers  or  toners. 

All  stains  require  a sealing  coat  of  pure  white  shellac  as 
indicated  under  the  subject  of  varnishing  on  page  49.  (See 
color  plates  on  pages  82  to  98  showing  stain  effects  on  various 
woods) . 

To  Stain  Re-Finished  Wood  Surfaces 

Clean  the  wood  thoroughly  -with  S-W  Taxite  (see  page  47) 
taking  special  care  to  wrash  out  as  much  of  the  old  stain  as 
possible. 

As  there  will  still  be  some  stain  remaining  in  the  wood, 
this  must  be  reckoned  with  in  re-staining,  i.  e.,  a wood  pre- 
viously stained  in  mahogany  should  be  stained  either  mahog- 


[ Page  55  ] 


any  again,  or  in  one  of  the  darker  browns  such  as  Handcraft 
Stain  Brown  Mahogany,  Brown  Oak  or  Cathedral  Oak. 

Note:  S-W  Handcraft  Stains,  because  of  their  penetrat- 
ing qualities,  are  the  only  stains  which  are  effective  for  refinish 
work.  When  once  a wood  surface  has  been  stained  and 
varnished,  the  porous  quality  of  the  wood  surface  is  destroyed 
and  the  wood  is  seemingly  filled  up,  so  that  a water  stain  or 
an  oil  stain  cannot  take  effect. 

Woods  previously  stained  in  green  will  be  best  finished 
in  either  a green  again,  Handcraft  Stain  Bog  Oak,  or  Weather- 
ed or  Green  Weathered  Oak,  as  the  green  remaining  would 
dirty  up  a brown  or  mahogany  shade.  These  points  are  well 
to  be  remembered  as  a stain  is  a transparent  dye  and,  of 
course,  does  not  entirely  hide  the  color  or  previous  stained 
effect  of  the  wood  except  in  the  very  darkest  shades. 

Previously  finished  wood  in  natural  color  does  not  present 
these  difficulties,  although  the  color  of  the  wood  may  be  darker 
and  yellower  than  the  original  wood,  due  to  aging,  so  that 
silver  gray  effects  will  not  be  as  clean  in  tone  as  might  be 
desired. 

Purposes  and  Use  of  Paste  Fillers 

Open-grain  woods  such  as  oak,  walnut,  chestnut  and 
mahogany  require  the  use  of  a paste  filler  to  fill  the  pores  of 
the  wood  and  level  the  surface  for  the  application  of  the 
finishing  coats.  The  close-grain  woods  such  as  maple,  birch, 
pine,  etc.,  do  not  require  a filler.  An  exception  may  be 
made  of  birch.  While  birch  is  really  classed  as  a close-grain 
wood,  the  use  of  a paste  filler  in  connection  with  red  and  brown 
mahogany  and  walnut  effects,  helps  bring  out  the  beauty  and 
character  of  the  grain  very  effectively. 

The  fillers  most  commonly  used  are  divided  into  two  classes 
— liquid  and  paste.  Liquid  fillers  are  usually  quick  drying, 
are  brushed  on  to  the  wood  and  allowed  to  dry.  A liquid 
filler  does  not  really  fill  the  wood,  but  rather  coats  it  over  with 
a shell  of  pigment  and  varnish  or  shellac.  It  does  not  impart 
a clear  tone  to  the  wood,  and  being  brittle,  is  especially 
undesirable  where  the  surface  is  to  receive  hard  usage.  A 
liquid  filler  is  intended  to  furnish  a quicker  and  cheaper 
method  than  the  standard,  but  is  not  to  be  highly  recom- 
mended. 


[ Page  56  ] 


Paste  fillers  come  in  paste  form  and  require  thinning 
with  benzine  to  brushing  consistency.  S-W  Paste  Fillers 
are  supplied  in  the  following  coloi 
effects:  Oak,  Antique  Oak,  Golden 
Oak  (which  stains  as  well  as  fills), 

Red  Oak,  Mahogany  (a  red-black), 

Walnut,  and  Transparent  (does  not 
change  the  color  of  the  wood). 

Fillers  always  follow  the  stain,  if 
a stain  is  used,  although  they  are 
frequently  used  over  the  new  wood 
— after  sanding  smooth.  The  filler 
does  not  require  sanding.  A paste 
filler  serves  two  purposes:  It  fills 
the  pores  of  the  wood,  leveling 
the  surface  for  the  varnish  finishing 
coats  which  would  otherwise  sink 
into  the  hollow  pores,  causing  a 
pebbled  appearance.  It  helps  bring 
out  the  beauty  and  character  of 
the  grain.  Both  floors  and  wood- 
work are  frequently  filled  (omitting 
the  stain)  with  a dark  filler  producing  very  pleasing  effects. 

Directions  for  Use 

Thin  to  a creamy  consistency  with  benzine  and  apply  to 
the  entire  surface.  When  the  material  starts  to  set,  indicated 
by  partial  flatting  out,  wipe  off  by  rubbing  with  a soft  cloth, 
first  across  the  grain;  then  wipe  clean.  This  will  remove  all 
material  except  that  which  has  entered  the  pores  of  the  wood. 
Allow  to  dry  for  forty-eight  hours  before  applying  varnish. 

Handcraft  System  Effects  for  Interior  Woodwork 
and  Furniture 

These  are  unique  art  effects  worked  out  over  stained  woods. 
Handcraft  System  Effects  are  practical  only  on  open-grain 
woods,  such  as  oak,  chestnut,  American  walnut,  etc.  They 
are  characterized  by  the  use  of  a light  colored  filler,  or  toner, 
in  place  of  the  customary  black  or  dark  brown  filler.  An  ex- 
ception to  this  classification,  of  course,  is  the  use  of  Trans- 
parent Paste  Filler  for  natural  oak  effects.  These  fillers  are 
termed  toners  because  they  lend  a different  tone  to  the  wood 


[ Page  57  ] 


Breakfast  Roam  in  Bine  and  Tan 

The  breakfast  room  has  come  to  be  an  institution  in  the 
American  home.  This  is  the  chummy  spot  where  the  family 
gathers  first  thing  in  the  morning.  In  order  to  start  the  day 
out  right  the  breakfast  room  should  furnish  the  needed 
stimulus  in  the  form  of  clean,  bright  color,  which  should  be 
in  such  refreshing  combinations  of  tones  as  shown  in  this  cut. 

The  enameled  furniture  can  be  so  easily  cleaned  and  the 
cretonne  curtains  give  the  feeling  of  sunshine  even  on  a gray 
day,  that  somehow  or  other  the  bacon  and  eggs  taste  better 
here  than  they  would  in  the  formal  dining-room. 

Specifications  on  page  i'tH 


over  which  they  are  applied.  S-W  Flat-Tone  is  the  product 
most  suited  to  this  purpose.  White,  Silver  Gray,  Cream, 
Bright  Sage  and  Cocoanut  Brown  are  the  colors  most  used. 

Handcraft  System  Effects  are  most  effective  over  new 
wood.  Wood  that  is  being  refinished  will  take  these  effects 
satisfactorily,  however,  if  the  surface  is  scrubbed  vigorously 
to  remove  any  finish  lodged  in  the  pores  of  the  wood. 

Directions  for  Use 

See  that  the  wood  is  smooth  and  free  from  dirt  and  grease. 
Dirt  may  be  cleaned  off  with  sandpaper.  Grease  can  be 
removed  by  washing  with  benzine 
or  gasoline.  It  is  advisable  to  brush 
the  wood  thoroughly  with  a regular 
wire  brush  before  staining  so  as  to 
open  up  all  the  pores  of  the  wood, 

This  will  enable  the  toner  to  enter  the 
pores  and  thus  bring  out  the  figure 
of  the  grain  satisfactorily.  Apply  one 
coat  of  Handcraft  Stain  (or  Acid 
Stain)  the  shade  specified  and  allow 
to  dry  for  twenty-four  hours.  Apply 
a thin  washcoat  of  pure  white  shellac 
(shellac  reduced  50  per  cent  with 
denatured  alcohol).  When  the  shel- 
lac is  hard,  brush  on  a coat  of  Flat- 
Tone  in  the  color  specified.  Thin 
slightly  with  pure  spirits  turpen- 
tine. Allow  this  to  set  for  a few 
minutes  and  then  wipe  the  surface 
clean  by  rubbing  with  a soft  cloth, 
first  across  the  grain  of  the  wood.  Let  this  dry  for  twenty- 
four  hours.  Follow  with  a coat  of  Velvet  Finish  Varnish 
No.  1044. 

The  following  effects  are  recommended  to  be  used  with- 
out the  coat  of  shellac  over  the  stain: 


Effect  No. 

Handcraft  Slain 

Flat-Tone 

40 

Weathered  Oak  and  Fumed 
Oak,  equal  parts 

Silver  Gray 

41 

Weathered  Oak 

Cream 

42 

Old  English  Oak 

Ilright  Sage 

43 

( Page  59  ] 

Old  English  Oak 

Cocoanut  Brown 

p— , 

1 


■ ■ -St;  ■ i i i 

" A 


Velvet 
Finish 
Varnish , 
No.  1044 


For  these  effects  allow  the  stain  to  dry  for  twenty-four 
hours  and  then  apply  Flat-Tone,  wiping  off  as  instructed  pre- 
viously. This  method  allowTs  the  stain  to  “bleed”  into  the 
Flat-Tone  Filler  somewhat  and  produces  a blurred  and 
softer  effect  than  where  the  shellac  is  used  to  seal  in  the  stain. 

Dark  colored  woods,  such  as  black  walnut,  may  have  a 
toner  of  Flat-Tone  applied  directly  to  the  unstained  wrood, 
to  be  finished  with  a thin  wash  coat  of  white  shellac  and  a 
coat  of  Velvet  Finish  Varnish  No.  1044.  Flat-Tone  Silver 
Gray  is  a very  satisfactory  toner  for  black  walnut. 

To  Enamel  W oodwork  and  Furniture 

New  Work 

Probably  in  no  other  type  of  finishing  is  the  importance 
of  the  preliminary  coats  and  the  preparation  of  the  surface 
quite  so  apparent  as  in  enameled  finishes.  Everyone’s  con- 
ception of  enamel  is  that  the  finish  shall  resemble  porcelain 
in  brilliancy,  smoothness  and  even  surface  as  much  as  possible. 

Kind  of  Wood  for  Foundation 

Of  all  the  woods,  birch,  because  of  its  fineness  and  even- 
ness of  grain,  is  best  for  enamel  work.  It  is  very  hard  and 
does  not  dent  or  bruise  readily.  Whitewood  or  poplar, 
white  pine  and  well  seasoned  gumwood,  come  next.  Such 
woods  as  yellow  pine  and  cypress  are  not  desirable  because  of 
their  relatively  high  pitch  content.  Where  it  is  necessary  to 
enamel  over  these  last  named  woods,  it  is  advisable  and  good 
practice  to  seal  the  wood  with  shellac  before  proceeding  writh 
the  undercoating. 

Open-grain  woods  such  as  oak  are  unsatisfactory  for 
enameling.  Where  a piece  of  furniture  in  oak  or  some  other 
open-grain  wood  has  to  be  enameled  to  match  other  pieces, 
special  treatment  is  necessary.  Remove  the  old  finish  with 
S-W  Taxite  as  described  on  page  47  and  then  fill  the  pores  of 
the  wrood  carefully,  using  S-W  Transparent  Paste  Filler  as 
directed  on  page  56. 

Greater  care  will  be  necessary  in  sanding  each  coat  of 
undercoater  smooth  so  as  to  avoid  a rough  or  pebbly  appear- 
ance. Whenever  possible  it  is  advisable  to  restain  an  oak 
piece  in  a color  to  harmonize  with  the  other  pieces. 


[ Pa(te  60  1 


Enameling  Surfaces  Requiring  Complete  Refinishing 
Remove  the  old  finish  with  S-W  Taxite  as  directed  on 

page  47.  Close-grain  woods 
need  only  to  be  cleaned  and 
sanded  if  rough.  Open- 
grain  woods  require  filling  as 
just  stated.  Any  wood  which 
has  been  previously  stained, 
especially  in  any  stain  con- 
taining a red  dye,  should  be 
given  an  extra  washing  with 
S-W  Taxite  to  remove  all 
stain  possible.  The  surface, 
of  course,  is  to  be  washed 
with  benzine  as  directed  else- 
where in  connection  with  Tax- 
ite. The  wood  should  then  be 
given  a thin  coat  of  shellac, 
as  any  particle  of  stain  re- 
maining in  the  wood  might  come  through  any  number  of 
enamel  coats,  discoloring  the  finish. 

Directions  for  Enameling 

The  process  of  enameling  any  surface  consists  first  of 
building  up  the  foundation  with  undercoaters  and  second, 
of  applying  the  enamel  finishing  coats.  The  first  is  even  more 
important  than  the  second. 

Function  of  the  Under  coatee 

The  undercoater  has  to  provide  a solid,  opaque  foundation 
which  will  thoroughly  hide  the  wood  surface,  as  the  enamel 
itself  is  rather  transparent  by  nature. 

For  the  undercoats  use  S-W  Flat-Rite  Interior  Enamel 
Undercoater,  SWP  Inside  Flat  White  or  S-W  Flat-Tone. 
The  first  coat  should  be  thinned  about  ten  per  cent  with  pure 
spirits  of  turpentine  on  new  work  to  satisfy  the  absorp- 
tion of  the  wood  and  secure  good  penetration.  On  surfaces 
shellaced  (previously  mentioned)  thin  only  as  necessary  to 
work  well. 

Second  and  third  coats  may  be  thinned  slightly  if 
necessary. 

Note — Use  SWP  Flat  White  as  the  undercoater  for  S-W 
Old  Dutch  Enamel  when  enameling  exterior  surfaces. 

[ Page  61  ] 


The  fourth  coat  should  consist 
of  equal  parts  of  the  Enamel  Un- 
dercoater  and  the  Enamel  in  the 
desired  color.  The  darker  colors 
of  enamel  require  the  undercoater 
to  be  tinted  to  match  the  color 
of  the  enamel,  although  when  using 
dark  colors  of  enamel  on  reed  or 
wicker  furniture,  the  undercoater 
can  frequently  be  dispensed  with. 

The  fifth  coat  should  be  the 
enamel  as  it  comes  from  the  can. 

Sandpapering 

Sandpaper  each  coat  of  under- 
coater carefully  with  00  sandpaper. 

This  is  to  remove  any  brush  marks 
and  put  the  surface  in  condition  for 
the  following  coat.  Rough  sandpaper 
will  scratch  the  film  and  show  up  in  final  effect.  The  final 
enamel  coat  may  be  left  in  the  natural  gloss  or  it  may  be 
rubbed  to  a dull  finish  with  powdered  pumice-stone  and  oil 
(see  page  52)  or  use  S-W  Old  Dutch  Enamel,  Dull. 

Kind  of  Brush 

The  importance  of  using  the  right  kind  of  brushes  for 
enamel  work  cannot  be  over-emphasized.  Probably  one  can 
learn  only  from  experience  the  big  difference  in  the  way 
enamel  and  enamel  undercoaters  go  on 
when  applied  with  a stiff  bristle  brush 
or  a soft  fitch  brush.  It  is  next  to  im- 
possible to  lay  on  these  materials  with 
a stiff  brush  without  leaving  ridges  or 
brush  marks.  With  the  soft  brush  these 
marks  can  all  be  avoided. 

For  enameling  wide  surfaces  such 
as  the  panels  of  a door,  a table  or 
dresser  top,  use  a two  or  two-and-a- 
lialf-inch  brush.  For  narrow  sur- 
faces, corners,  etc.,  an  inch-and-a- 
half  brush  will  be  very  convenient 
(see  page  25  for  the  care  of  brushes). 


Oval  brash  for  varnishing  floors 
or  enameling  wall;  iVi-irich 
flaljitch  brush  for  broad  panels; 
2-inch  filch  brush  for  smaller 
surfaces  and  general  work. 


Fourth  coal 
equal  parts 
undercoater 
and  enamel 


Fifth  coat 
Enamel 


[ Page  62  ] 


How  lo  Apply  Enamel 

Brush  the  undercoater  or  enamel  on  to  the  surface 
freely  and  quickly,  stroking  with  the  grain  of  the  wood. 
Then  lay  the  surface  off,  that  is  brush  the  material 
across  the  grain  of  the  wood.  This  will  drag  the  color 
over  any  spot  missed  the  first  time  and  also  help  distribute 
the  color  in  an  even  film  over  the  surface.  If  there  is  too 
much  enamel,  this  “laying  off”  will  take  up  the  surplus  which 
would  otherwise  result  in  “sagging.”  Then  with  light  strokes 
“straighten  out”  the  surface  by  brushing  with  the  grain  of 
the  wood.  Unless  the  enamel  has  been  used  too  heavy  in 
body,  this  process  will  produce  the  smoothest  possible  job. 

Remember  that  in  applying  these  materials  it  is  necessary 
to  move  quickly,  as  any  brushing  into  the  surface  after  the 
enamel  sets  will  result  in  a rough  finish. 

Exercise  special  care  to  keep  the  brushes  clean  and  also 
the  surface  to  be  finished.  Where  sandpaper  has  been  used 
it  will  be  necessary  to  dust  off  all  fine,  loose  particles  which 
always  show  up  greatly  magnified  in  the  finished  effect. 


Second  Method  of  Re-Finishing  W oodwork  and 
Furniture 

The  Sherwin-W  illiams  Floorlac  Process 
There  are  many  surfaces  about  the  house  where  either 
the  condition  or  quality  of  the  wood  does  not  permit  the  use 

— , of  a natural  varnished  finish 
or  a stained  finish,  or  where 
one  doesn’t  care  to  invest  the 
lime  and  effort  in  this  type  of 
finish.  Here  are  a few  such 
surfaces:  the  old  pine  floor, 
badly  marred  and  discolored, 
or  perhaps  previously  painted; 
chairs  and  tables  for  the 
kitchen,  breakfast  nook  or 
veranda;  old  woodwork  needing  brightening  up  and  a host 
of  other  surfaces  found  in  every  household.  Sherwin-Wil- 
liams Floorlac,  a combination  stain  and  varnish  product, 
is  provided  for  just  such  purposes. 

Floorlac  is  made  with  Mar-not  Varnish  as  a base  in  which 
are  incorporated  the  best  and  most  permanent  dyes  ob- 
tainable. 


Floorlac  is  applied  in  the  direction  of  the 
hoards , not  across  them 


[ Pape  63  ] 


A Kitchen  in  Ivory  and  Bine 


This  is  a simple  room  in  which  provision  has  been  made 
for  ease  in  keeping  every  inch  of  space  clean,  sweet  and  at- 
tractive. The  white  enameled  wainscoting  and  porcelain 
drainboards  are  both  suggestive  of  cleanliness  and  are  made 
doubly  interesting  by  the  checkered  linoleum  in  blue  and 
white.  The  walls  and  ceilings  may  be  in  either  dull  or  gloss 
finish,  as  preferred. 


Specifications  on  page  1 'tH 


Floorlae  produces  a stain  and  varnish  effect  in  one  opera- 
tion. It  is  frequently  used  directly  over  new  wood  such  as 
unfinished  tables  and  chairs,  and  is  equally  effective  over 
objects  varnished  in  the  natural  color. 

When  applying  Floorlae  over  surfaces  previously  stained 

and  varnished,  select  a color 
of  Floorlae  similar  to  the 
old  color,  as  Floorlae  is 
transparent  and  the  old 
color  will  show  through 
somewhat,  i.e.,  do  not  ex- 
pect to  produce  good  re- 
sults with  Floorlae  Mahog- 
any applied  over  some 
green  stained  wood,  etc. 
If  such  a change  of  color 
is  desired  it  can  be  ac- 
complished, of  course,  but 
first  cover  the  old  color  with  two  coats  of  Floorlae  Ground. 

When  Floorlae  Ground  is  Needed 

One  case  has  just  been  cited.  Very  often  floors,  woodwork 
and  furniture  are  so  badly  marred  and  discolored  that  it  is 
desirable  to  hide  the  old  surface.  Floorlae  Ground  is  then 
applied  (two  coats)  and  Floorlae  in  the  desired  color  applied 
over  this. 

Grained  Effects 

Very  attractive  imitation  grain  effects  may  be  produced 
by  applying  over  the  ground  color  a coat  of  S-W  Graining 
Preparation,  graining  it  as  you  go  along  by  the  use  of  a 
standard  half-round  graining  roller  or  steel  graining  comb. 
The  graining  coat  is  to  be  followed,  when  dry,  by  Floorlae  in 
the  desired  shade. 

Directions  for  Using  Floorlae 

Stir  contents  of  the  can  thoroughly  before  using.  See  that 
the  surface  to  be  finished  is  free  from  grease  and  dirt. 

New  Woods 

Over  new  woods  or  surfaces  in  good  condition,  apply  two 
or  more  coats  of  Floorlae,  according  to  depth  of  color  desired. 


[ Page  65  ] 


Note:  Sandpaper  the  original  surface  smooth  and  sand 
each  coat  lightly  except  the  last, 
with  00  sandpaper. 

It  is  advisable  to  use  Floorlac 
Clear  or  Mar-not  Varnish  as  a 
finishing  coat  over  Floorlac  on 
surfaces  receiving  hard  usage.  This 
will  prevent  the  surface  wearing  un- 
even and  spotty  in  doorways,  etc. 

When  using  Floorlac  on  floors, 
start  at  the  edge  of  the  room  farthest 
from  the  door.  Apply  Floorlac  over 
two  or  more  boards  width,  as  con- 
venient, and  varnish  these  boards 
clear  across  the  room.  Then  take 
the  next  few  and  continue  in  this 
manner  over  the  entire  surface. 

This  will  avoid  lapping,  which  pro- 
duces unsightly  spots. 

Old  Woods 

Follow  instructions  just  given 
except  that  two  coats  of  Floorlac  Ground  are  needed  to  hide 
the  old  color  and  prepare  the  surface  before  varnishing.  Thin 
the  first  coat  of  Ground  slightly  with  turpentine  if  necessary. 

A Painted  Finish 

For  a painted  finish  on  interior  surfaces  of  any  kind,  the 
only  directions  to  be  observed  are: 

See  that  the  surface  is  clean,  free  from  grease,  and  ab- 
solutely dry. 

Be  sure  to  stir  paint  thoroughly  from  the  bottom  of  can 
immediately  before  using. 

Apply  as  many  coats  of  the  desired  color  as  may  be  neces- 
sary to  get  a satisfactory  finish. 

Should  thinning  be  found  necessary,  follow  the  directions 
for  thinning  given  on  the  label  of  the  particular  paint  used. 

Brush  evenly  and  with  the  grain  of  the  wood. 

Never  apply  one  coat  before  the  preceding  coat  is  thorough- 
ly dry. 

Write  the  Sherwin-Williams  Department  of  Decoration 
should  difficulties  present  themselves  not  covered  by  this 
chapter. 


Old  surface 


Coat  of 
Floorlac 
Clear , or 
M ar-not 
Varnish 


[ Page  66  ] 


Chapter  VII 


The  Treatment  of  Floors 

OTHING  is  more  pleasing  than  a well-kept  floor.  It 


goes  a long  way  toward  giving  a room  a pleasant 


” appearance  and  emphasizes  the  beauty  of  rugs,  cur- 
tains, draperies,  etc.  On  the  other  hand,  a marred,  shabby- 
looking  floor  detracts  greatly  from  the  appearance  of  the 
room,  no  matter  how  well  it  may  be  furnished. 

Floors  deserve  more  particular  attention  than  any  other 
interior  surface,  as  there  is  no  part  of  the  house  where  the 
wear  and  tear  is  so  severe,  or  where  there  is  so  great  an 
exposure  to  hard  usage.  The  following  pages  tell  how  to 
finish  floors  properly  and  keep  them  beautiful  and  sanitary 
with  least  possible  effort  and  expense. 

In  finishing  a floor,  see  that  it  is  kept  as  free  from  dust  as 
possible.  Never  apply  a second  coat  of  any  kind  without 
first  carefully  wiping  up  the  dust  with  a cloth  dampened  with 
benzine  or  turpentine.  Avoid  doing  anything  that  will  tend 
to  raise  dust  while  the  material  is  being  applied;  such  as 
unnecessary  tramping  back  and  forth  in  the  room  being 
finished,  or  cleaning  in  one  room  while  the  finish  is  being 
applied  in  another. 


Finishing  New  Floors 
Natural  Varnished  Finish  (Hard  or  Soft  Wood) 
Preparation  of  surface — Floors  should  be  allowed  to 


season  about  a month  after  being  laid.  They  should  then  be 
scraped  and  sandpapered  smooth  with  No.  }f>  sandpaper. 
If  floor  is  an  open-grain  wood  (see  explanation  of  open  and 
close  grain  woods  on  page  56),  a coat  of  S-W  Paste  Filler 
of  the  desired  color  should  next  be  applied  as  directed  on 
page  56  to  fill  up  the  pores  (liquid  fillers  should  never  be  used, 
as  they  are  a poor  substitute  for  paste  filler).  Close-grain 
woods  do  not  require  the  use  of  a filler. 


I Page  67  ] 


1 Bathroom  in  Soft  Sea  Green 


Just  to  say,  “This  is  a sanitary  bathroom,”  sounds  too 
prosaic.  And  yet  this  term  describes  this  room  so  well;  no 
inaccessible  corners  around  the  bowl  or  tub.  The  walls  done 
in  Flat-Tone  and  the  woodwork  and  wainscoting,  tile-like 
in  their  mantle  of  Old  Dutch  Enamel,  so  easily  washed. 
Let  the  children  splash  to  their  heart’s  content — there  is 
nothing  they  can  damage. 


Specifications  on  page  1 


Application  of  finish — After  the  surface  lias  been  prepared 
as  indicated  above,  apply  three  coats  of  S-W  Mar-not  Varnish. 
The  first  coat  should  be  thinned  with  one  pint  of  pure  spirits 
turpentine  to  each  gallon  of  Mar-not,  so  that  varnish  will 
penetrate  well  into  the  wood.  The  following  coats  should  be 
applied  as  the  varnish  comes  from  the  can.  Each  coat 
should  be  allowed  about  48  hours  to  dry  before  applying  the 
next  coat.  All  coats  except  the  last  coat  should  be  sand- 
papered lightly  with  00  sandpaper. 

If  a flat  or  dull  finish  is  desired  the  last  coat  should  be 
rubbed  with  pumice-stone  and  oil,  pumice-stone  and  water, 
or  steel  wool,  after  it  has  been  allowed  to  dry  at  least  48 
hours. 

Waxed  Finish  ( Hard  or  Soft  Wood) 

A waxed  finish  may  be  applied  over  either  varnish  or 
shellac. 

Preparation  of  surface — Follow  the  instructions  on  preced- 
ing page  under  caption  “Preparation  of  Surface  for  Varnished 
Floors.” 

Application  of  varnish  or  shellac — For  a varnish  finish, 
apply  the  varnish  as  directed  at  top  of  this  page  under  the 
caption  “Application  of  Finish.”  For  a shellac  finish,  simply 
apply  two  coats  of  S-W  Pure  White  Shellac  thinned  to  the 
proper  brushing  consistency,  allowing  each  coat  to  dry  hard. 

Next  apply  a thin  coating  of  S-W  Prepared  Wax  with  a 
soft  cloth.  Then  polish  to  the  proper  finish  with  a clean,  soft 
cloth,  or  a weighted  waxing  brush. 

Stained  Finish  ( Hard  or  Soft  Wood ) 

Some  finishing  specifications  call  for  a stained  floor,  some- 
what darker  than  the  natural  and  popular  hardwood  effects 
most  generally  seen. 

After  floors  have  seasoned  well  for  about  a month, 
they  should  be  scraped  and  sandpapered  smooth  with  No. 

sandpaper.  A coat  of  S-W  Oil  Stain  of  the  desired 
color  should  then  be  applied  (see  page  55). 

After  stain  has  dried  for  24  hours,  if  floor  is  an  open- 
grain  wood  (see  explanation  on  page  56),  a coat  of  paste  filler 
should  be  applied  as  directed  on  page  56  (if  floor  is  a close- 
grain  wood,  filler  should  be  eliminated). 


[ Page  69  ] 


Then  apply  two  or  three  coats  of  S-W  Mar-not  Varnish, 
allowing  each  coat  to  dry  48  hours  and  sanding  each  coat 
except  the  final  coat  lightly  with  00  sandpaper. 

Varnish  Slain  Finish — {Soft  or  Hard  Wood) 

Where  it  is  desired  to  finish  the  cheaper  woods  in  popular 

hardwood  effects,  or  where 
either  hard  or  soft  wood 
floors  are  not  in  good 
condition  to  varnish  or  wax, 
the  best  method  of  finishing 
is  with  a varnish  stain,  like 
S-W  Floorlac,  which  covers 
up  all  imperfections  and 
at  the  same  time  produces 
a good  varnish  finish  imita- 
ting natural  woods. 

Preparation  of  surface — 
Follow  instructions  on  page  67,  for  varnished  floors. 

Application  of  finish — Apply  one  or  two  coats  of  Floorlac 
of  the  desired  color  as  it  comes  from  the  can,  using  a soft 
bristle  brush  and  brushing  out  into  thin  even  coats.  Allow 
each  coat  to  dry  for  48  hours.  Before  starting,  it  will  be  found 
a good  idea  to  try  out  the  finish  on  a small  piece  of  the  same 
kind  of  wood  upon  which  it  is  to  be  used  to  see  if  the  shade 
is  satisfactory,  as  the  shade  varies  slightly  according  to  the 
kind  of  wood.  Another  thing  to  keep  in  mind  is  that  Floorlac 
is  considerably  different  in  character  than  paint.  Two,  three 
or  four  coats  of  paint  applied  over  each  other  do  not  affect  the 
color  of  the  surface;  but  each  succeeding  coat  of  Floorlac 
darkens  the  surface  perceptibly.  If  one  or  two  coats  do  not 
produce  exactly  the  right  effect  on  the  small  sample,  an 
additional  coat  may  produce  just  what  is  wanted.  If  no  small 
strip  of  wood  is  available,  the  try-out  might  be  made  on  the 
floor  back  of  the  door  or  in  a dark  corner  of  the  room.  In 
applying  Floorlac  a few  boards  should  be  followed  through 
from  one  end  of  the  room  to  the  other,  instead  of  trying  to 
finish  a large  square  surface  at  a time  and  then  going  back 
and  finishing  another  square,  as  this  latter  practice  will  have 
a tendency  to  show  laps. 


[ Page  70  ] 


Following  t lie  use  of  Floorlac  colored,  apply  one  coat  of 
S-W  Floorlac  Clear  or  S-W  Mar-not  Varnish.  It  is  always 
advisable  to  apply  a finishing  coat  of  the  Clear,  even  omitting 
one  of  the  coats  of  Floorlac  colored,  if  necessary,  for  the 
following  reason.  Where  no  finishing  coat  of  Clear  is  applied 
you  have  wear  on  the  color  right  away,  foot  wear  commencing 
to  change  the  color  of  the  surface  in  all  pathways  of  foot 
traffic,  from  the  first  day  of  use.  Whereas,  if  a finishing  coat 
of  Clear  is  applied,  it  serves  indefinitely  as  a protecting  coat 
over  the  color. 


Splendid  grained  effects  may  be  produced  by  applying  a 
coat  of  S-W  Graining  Preparation  directly  over  the  ground 
color,  then  graining  with  a regular  graining  roller  or  steel 
comb. 

Painted  Finish  (Soft  Wood ) 


Frequently  soft  wood  floors  have  become  badly  dented 
and  marred,  so  that  they  will  not  appear  well  in  a varnished 
or  waxed  finish  unless  they  are  rescraped  to  a fresh  surface. 
There  is  no  reason,  however,  why  these  floors  cannot  be  made 
attractive  by  using  S-W  Inside  Floor  Paint. 

Preparation  of  surface — Xo  special  preparation  is  ordinarily 
necessary  for  the  application  of  Inside  Floor  Paint,  except  to 
see  that  the  surface  is  free  from  dirt,  grease  and  moisture. 


Application  of  finish — First  pour  the  liquid  on  the  top 
into  another  can.  Stir  the  pigment  thoroughly  with  a paddle; 
then  add  the  liquid  a little  at 
a time  until  all  of  it  has  been 
mixed  with  the  paint,  stirring 
constantly.  Brush  the  paint 
out  well  and  work  thoroughly 
into  the  pores  of  the  wood.  It 
is  better  to  apply  three  thin 
coats  than  two  heavy  coats — 
they  will  wear  better.  Thin 
the  first  coat  with  one  pint 
raw  linseed  oil  to  the  gallon 
of  paint.  Allow  plenty  of  air 
to  circulate  through  the  room  after  painting—  it  hastens 
drying.  Inside  Floor  Paint  dries  hard  over  night  and  can  be 
walked  on  next  morning,  but  it  is  better  to  allow  48  hours 
between  coats. 


Varnish  a sir  ip  clear  fhronqh  from  one 
end  of  the  room  to  the  other 


[ Page  71  ] 


A Man’s  Room 


It  is  hardly  necessary  to  say  that  this  room  may  be  the 
sanctum  sanctorum  of  the  college  chap  or  possibly  that  same 
fellow  grown  up  but  still  retaining  his  love  for  soft,  rich  tones 
whose  sombre  quality  makes  his  book  and  pipe  all  the  more 
friendly. 


Specifications  on  page  1 46 


Refinisfling  Old  Floors 

One  of  the  very  important  things  in  refinishing  old  floors 
is  to  clean  the  floor  thoroughly,  immediately  before  applying 
the  finish.  The  surface  dust  should  be  swept  up;  then  floor 
should  be  cleaned  with  soap  and  water  (preferably  S-W  Flax- 
oap,  a linseed  oil  soap,  which  is  especially  good  for  this  pur- 
pose). This  should  always  be  followed  by  wiping  up  the  floor 
with  a cloth  moistened  with  benzine,  which  removes  any  grease 
that  may  remain  from  the  soap.  It  is  especially  important 
to  wipe  up  kitchen  floors  around  the  stove  or  sink  carefully 
with  benzine  to  remove  grease  drippings,  soapy  substances,  etc. 

Filling  the  Cracks 

To  obtain  a perfectly  smooth  finish  on  old  floors,  all  nail 
holes,  crevices  or  cracks  caused  by  boards  shrinking  and 
coming  apart,  should  be  filled  with  S-W  Crack  and  Seam 
Filler.  This  filler  should  never  be  applied  to  the  bare  wood 
as  the  oil  content  would  have  a tendency  to  soak  into  the 
wood,  leaving  the  pigment  to  dry  out  and  crumble.  It  should 
be  applied  either  after  the  first  coat  of  paint  (or  varnish)  is 
thoroughly  dry  or  after  the  cracks  and  holes  have  been  care- 
fully primed. 

In  applying  the  filler,  it  is  important  to  fill  the  cracks 
thoroughly  by  pressing  the  filler  all  the  way  to  the  bottom 
of  the  crack.  If  this  is  not  done,  it  is  apt  to  hang  on  the  sides 
and  later  on  give  way,  come  loose  and  drop,  causing  a break  in 
the  surface  film  and  greatly  disfiguring  the  floor. 

Varnished  Finish — ( Hard  or  Soft  Wood) 

If  floor  is  in  first-class  condition  one  or  two  coats  of 
Mar-not  Varnish,  applied  as  it  comes  from  the  can,  will  renew 
the  finish  to  its  original  condition.  Each  coat  should  be 
allowed  to  dry  for  48  hours. 

If  the  floors  are  in  unsatisfactory  condition,  and  it  is 
desired  to  secure  the  finest  effect,  the  old  finish  should  be 
removed  with  S-W  Taxite,  as  directed  on  page  47,  and  the 
floor  scraped,  if  necessary. 

When  the  floor  has  been  cleaned  down  to  the  bare  wood, 
proceed  as  directed  in  the  specification  “For  A Varnished 
Finish  on  New  Wood”  on  page  G7. 


[ Page  73  ] 


1 Homey  Li  ring- Room 


The  soft  grays,  rendered  doubly  pleasing  by  the  trans- 
parent, luminous  quality  of  the  glaze  effect,  give  an  added 
richness  to  the  more  intense  tones  of  the  furnishings  of  this 
room.  A decidedly  summery  feeling  is  created  by  the  cre- 
tonne cover  which  is  to  protect  the  tapestry  chair  for  the 
summer  months.  The  flowers  and  bright  candy  jars  furnish 
the  right  accent. 

The  knitting,  dropped  for  the  moment,  speaks  eloquently 
for  the  comfort  and  livability  of  this  room. 


Specifications  on  page  146 


Waxed  Finish  ( Hard  or  Soft  Wood) 

In  cases  where  the  floor,  through  unusually  hard  wear  or 
neglect,  is  in  an  unsatisfactory  condition  and  requires 
refinishing,  the  old  finish  may  be  removed  by  first  taking  off 
the  wax  with  turpentine  or  benzine,  then  removing  the 
shellac  coatings  with  S-W  Taxite  as  directed  on  page  47.  Then 
apply  waxed  finish  as  explained  on  page  69. 

Varnish  Slain  Finish — ( Hard  or  Soft  Wood) 

If  floor  has  previously  been  finished  with  a varnish  stain, 
such  as  S-W  Floorlac,  and  is  in  fairly  good  condition,  the 
finish  can  be  renewed  by  applying  one  or  two  coats  of  Floorlac 
Clear  or  Mar-not  Varnish.  Forty-eight  hours  should  be 
allowed  between  each  coat  for  drying,  sandpapering  each  coat 
except  the  last  one  as  directed  on  page  70. 

Always  be  sure  surface  is  free  from  dirt  or  grease  before 
applying  finish. 

Painted  Finish — -(Soft  Wood) 

If  floor  is  cracked  or  boards  have  shrunk  apart,  use  S-W 
Crack  and  Seam  Filler,  before  applying  paint,  as  directed 
on  page  73. 

Be  sure  that  floor  is  free  from  grease  and  moisture,  then 
apply  one  or  twro  coats  of  S-W  Inside  Floor  Paint,  as  directed 
under  caption  “For  a Painted  Finish,  New  Floors’’  on  page  71. 

Linoleum 

Linoleum,  one  of  our  most  practical  floor  coverings,  is 
recommended  for  both  new  and  old  floors  in  kitchens,  bath- 
rooms, basements,  etc.  It  may 
be  obtained  in  pleasing  and 
suitable  patterns  and  color 
effects,  and,  because  it  is  not 
so  hard  and  unyielding  as  a 
wood  or  concrete  floor,  is  much 
easier  on  the  feet,  and  does 
not  fatigue  the  housewife. 

The  figure  worn  off.  a protective  film  of  Printed  linoleum  needs  the 

varnish  would;  have  prevented  this. (Photo  • e in 

courtesy  of  H.  A.  Gardner.)  protection  Oi  <i  gOOQ  uOOr 

varnish,  however,  in  order  to  save  it  from  destructive  wear 
and  prevent  effacement  of  the  design.  Varnish  also  makes 
either  printed  or  inlaid  linoleum  much  easier  to  clean;  clean- 


[ Page  75  ] 


ing  with  a mop  or  a cloth  being  sufficient,  and  scrubbing  un- 
necessary as  the  dirt  does  not  grind  into  the  linoleum. 

It  is  a very  simple  matter  to  varnish  linoleum  and  takes 
very  little  time.  All  that  is  necessary  is  to  clean  thoroughly 
with  soap  and  water  (preferably  S-W  Flaxoap);  then  wipe 
off  with  a cloth  saturated  with  benzine.  When  dry,  apply 
one  or  two  coats  of  S-W  Durable  Linoleum  Finish,  S-W 
Mar-not  Varnish  or  S-W  Floorlac  Clear,  these  varnishes  being 
especially  adapted  for  use  on  linoleum.  Allow  48  hours  for 
drying  after  each  coat. 

Dancing  Floors 

Maple  is  the  most  durable  and  satisfactory  wrood  for 
dance  floors. 

The  floor  should  be  scraped  and  sandpapered  to  the 
smoothest  surface  possible  with  No.  Y2  sandpaper. 

With  close-grain  woods  (see  explanation  of  open  and  close 
grain  woods  on  page  5(i)  like  maple,  the  use  of  a filler  is 
unnecessary,  but  if  floor  is  one  of  the  open-grain  woods,  a coat 
of  S-W  Paste  Filler  Natural  should  be  applied  as  directed 
on  page  5G. 

Then  apply  a thin  coating  of  S-W  Prepared  Wax  with  a 
soft  cloth,  and  polish  to  the  proper  finish  with  a floor  weight. 

The  Care  of  Floors 

Floors  should  be  gone  over  once  a day  with  a cloth  or 
oil  mop,  saturated  with  S-W  Floor-Wipe.  When  this  is  done 
a few  moments  a day  will  keep  several  rooms  looking  fine. 

Waxed  floors  can  be  kept  in  good  condition  for  a long 
time  by  polishing  with  a weighted  waxing  brush  or  by  rubbing 
briskly  with  a cloth,  at  frequent  intervals,  and  applying  a new 
coating  of  wax  from  time  to  time. 

At  intervals  it  is  advisable  to  clean  floor  with  S-W  Flaxoap 
and  water.  Flaxoap  is  a linseed  oil  soap,  and,  its  use  will 
prolong  the  life  of  the  finish. 

Never  use  laundry  soap,  scouring  soaps,  washing  powders 
or  prepared  cleansers  which  contain  free  alkali,  acids,  lye,  etc. 

Use  lukewarm  water — not  hot.  Never  "flood”  the  floor 
with  water.  Wash  about  a square  yard  at  a time,  rinse  with 
clear  water,  and  dry  thoroughly. 


[ Page  76  ] 


After  washing  floor,  to  secure  a nice  bright  floor  apply  S-W 
Floor-Wipe  or  S-W  Polish-ol.  Simply  dampen  a cloth  with  the 
liquid  or  use  a floor  mop.  Then  polish  with  a dry  cloth. 

Cement  Floors 

There  are  two  distinct  methods  of  treating  cement  floors. 

One  method  is  to  paint  the  floor  with  an  oil  gloss  paint, 
wherever  a painted  finish  is  desired. 

The  other  method  is  for  floors  showing  a tendency  to  dust, 
which  usually  occurs  where  floors  are  subjected  to  hard  wear. 
For  this  purpose  we  recommend  a cement  floor  hardener. 

T Painted  Finish 

Where  a painted  finish  is  desired,  very  satisfactory  results 
may  be  obtained  through  the  use  of  S-W  Concrete  Floor  Faint. 
No  special  preparation  of  the  surface  is  necessary  before 
applying  the  paint,  other  than  removing  all  grease,  loose 
dirt  and  foreign  matter  (never  wash  or  scrub  floor  immediately 
before  painting,  as  moisture  is  detrimental  to  good  results). 

Three  coats  of  S-W  Concrete  Floor  Paint  should  be  applied, 
thinning  the  first  and  second  coats  with  one  pint  pure  tur- 
pentine to  the  gallon  of  paint. 

Satisfactory  painting  of  cement  surfaces  depends  on  cement 
being  neutral  or  free  from  acid.  On  newly  laid  floors,  suf- 
ficient time  must  be  allowed  for  all  moisture  to  dry  out. 
Cement  floors  laid  directly  on  the  ground  without  adequate 
drainage  are  poor  surfaces  for  painting. 

Concrete  and  Cement  Hardener 

Where  a dust  proofing  and  hardening  treatment  is  desired 
on  floors  subjected  to  hard  wear  the  application  of  S-W 
Cement  and  Concrete  Hardener,  a colorless  liquid  chemical 
preparation  to  the  surface  of  the  floor  will  immediately  stop 
dusting  and  permanently  harden  and  seal  the  floor  without 
changing  its  color  to  any  appreciable  degree. 

Concrete  and  Cement  Hardener  should  never  be  used 
as  a preparatory  coat  on  floors  that  are  to  be  painted  unless 
the  concrete  is  subject  to  such  excessive  dusting  that  some 
hardening  measure  is  absolutely  necessary. 

Full  instructions  for  the  use  of  this  material  will  be  fur- 
nished upon  application  to  The  Sherwin-Williams  Company. 


( Page  77  ] 


A Din  ini/-  Hoorn  in  I he  Spirit  of  Old  Colony  Days 


The  furnishings  of  this  dining-room  have  been  chosen 
from  the  simplest  types  available  and  the  unpretentious  lines 
of  the  table,  chairs  and  clock  make  for  a quiet  dignity  which 
is  in  very  good  taste. 

The  wall  color,  varying  from  soft  blendings  of  blue  and 
brown,  gives  a range  of  blue-grays,  gray-greens  and  browns 
which  seem  to  find  their  parent  colors  in  the  dark  Colonial 
mahogany  and  rich  green  rug  and  admirably  set  off  both 
to  full  advantage. 


Specification*  on  page  1 W 


Chapter  VIII 

Interior  Woodwork 

Some  of  the  Best  Cabinet  Woods:  How  to  Finish  Them 

FORTUNATE  indeed  is  the  man  who  can  retain  a com- 
petent architect  or  well-posted  builder  to  look  after 
his  interests  in  finishing  the  interior  woodwork  when 
building  a new  home.  Even  where  it  is  possible  to  specify 
any  wood  one’s  fancy  might  dictate,  there  still  remains  the 
problem  of  securing  the  stains  and  varnishes  that  will  truly 
enhance  the  beauty  of  the  wood  provided.  Each  operation 
from  the  installing  of  the  wood  down  through  the  preparation 
of  the  surface,  sanding,  staining,  filling,  sealing,  varnishing 
and  rubbing,  is  so  important  and  closely  related  to  each  sub- 
sequent operation,  as  to  merit  most  careful  supervision. 

Any  person  who  goes  to  the  trouble  and  expense  of  secur- 
ing choice  finishing  lumber  should  make  definite  provision  to 
cover  these  important  conditions:  The  plaster  must  be  thor- 
oughly dry  before  the  lumber  is  even  delivered  to  the  house. 
The  better  the  lumber  is  seasoned  the  more  thirsty  it  is  for 
water,  which  will  be  absorbed  readily  if  the  atmosphere 
within  the  building  is  damp.  This  will  result  frequently  in 
warping,  but  is  certain  to  cause  the  grain  of  the  wood  to 
raise  even  if  already  sanded,  so  that  even  where  wood  is 
not  permanently  damaged,  considerable  uncalled-for  expense 
is  incurred  through  necessity  of  again  sanding  the  wood.  Of 
course,  all  lumber  should  be  sanded  smooth  after  it  has  been 
installed,  but  this  is  a comparatively  light  operation  if  the 
grain  of  the  wood  hasn’t  been  affected. 

Never  have  woodwork  installed  if  the  plaster  is  damp. 
When  it  is  necessary  to  do  this  work  during  the  wet  or  rainy 
season  of  the  year,  artificial  heat  should  be  provided  to  keep 
the  house  dry. 

For  very  best  results,  paint  the  back  of  all  wood  trim 
with  a coat  of  a good  linseed  oil  paint,  such  as  SWP, 


I Page  79  ] 


before  installing.  This  will  prevent  moisture  (which  may  be 
in  the  wall  at  a later  date)  from  entering  the  wood  from  its 
unfinished  side  to  cause  warping. 

Have  the  painters  or  finishers  on  the  job  to  begin  their 
work  just  as  soon  as  the  carpenter  is  through  with  his  part. 
It  is  well  for  the  home  owner  to  remember  that  he  has  an 
investment  in  his  woodwork,  which  plays  a part,  second 
almost  to  no  other  feature,  in  making  the  home  attractive 
to  live  in  and  readily  salable.  The  cost  of  stain  and  varnish 
materials  usually  represent  less  than  one-half  per  cent  of  the 
entire  cost  of  the  building,  so  it  is  very  apparent  that  even  a 
dollar  or  two  on  a gallon  of  stain  or  varnish  is  not  to  be  con- 
sidered when  compared  to  the  results  and  length  of  service 
obtained.  Every  manufacturer  is  compelled,  through  demand, 
to  manufacture  materials  of  second  quality  in  addition  to  his 
best.  The  value,  of  course,  is  there  for  the  price  paid,  but 
the  economy  is,  many  times,  questionable.  It  is  good  prac- 
tice, therefore,  to  specify  the  materials  recommended  as  the 
best  for  the  purpose  by  the  manufacturer. 

It  is  hoped  that  this  book  will  serve  a purpose  in  addi- 
tion to  merely  giving  specifications,  namely,  that  of  furnish- 
ing new  ideas  of  materials,  effects  and  finishes.  It  is  not 
always  practicable  to  use  some  of  the  old  standbys  in  finishing 
interior  wood  trim,  nor  is  it  always  desirable.  The  cost  of 
the  lumber  very  often  requires  careful  consideration  on  the 
part  of  the  architect  or  the  man  who  has  the  ambition  to 
build  and  own  a home.  It  is  much  to  be  preferred  that  a 
good  grade  of  a moderately  priced  wood  be  employed  for 
interior  wood  trim  and  floors,  than  a poorer  grade  of  some 
more  expensive  wood.  From  the  illustrations  given  on  pages 
82  to  98,  it  will  be  seen  that  exceedingly  beautiful  work 
may  be  done  with  pine,  cypress,  Douglas  fir  (Oregon  pine), 
California  redwood  and  other  woods,  all  of  which  cost  less 
than  some  woods  frequently  desired  by  the  home  builder. 
The  treatment  of  these  woods  may  be  worked  out  in  harmony 
with  the  walls,  because  they  one  and  all  possess  beauty  of 
grain  which  may  be  properly  brought  out  and  quality,  not 
cheapness,  indicated  through  correct  stain  and  varnish  treat- 
ment. It  is,  after  all,  the  successfully  developed  ideas  one 
displays  in  home  building,  and  not  cost  of  material  used,  that 
will  represent  ultimate  value  in  the  completed  building. 


[ Page  80  ] 


Any  problem  not  covered  in  the  suggestions  offered  in  this 
volume  should  be  referred  to  the  staff  of  our  Department  of 
Decoration,  because  it  is  our  desire,  as  thoroughly  as  it  is 
yours,  to  see  that  your  woodwork  trim  is  all  that  could  be 
desired  and  more. 


Oak 

Mighty  oak!  This  wood  has  always  been  associated 
with  the  thought  of  actual  physical  strength  and  long  life. 
Oak  has  a most  characteristic  grain.  As  used  in  furniture, 
fine  woodwork  and  floors,  we  are  equally  familiar  with  both 
the  straight  sawed  and  the  quarter-sawed  wood.  The  latter 
furnishes  the  most  striking  figuration  due  to  the  cutting  cross- 
wise of  the  medullary  rays  of  the  log  which  then  appear  as 
the  streaks  or  flakes  darting  across  the  grain  and  which  make 
quarter-sawed  oak  so  characteristic  and  in  such  extensive 
demand  for  fine  furniture.  Striking  patterns  can  be  selected 
which  are  splendid  for  table  tops  and  large  panels.  For  the 
general  run  of  woodwork  and  floors,  a more  modest  grain  is 
desirable  as  producing  a more  quiet  and  restful  effect  in  the 
room. 

Oak  is  an  open-grain  wood,  i.  e.,  there  are  open  spaces  or 
pores,  varying  in  size,  between  the  fibres  of  the  wood.  This 
is  both  an  advantage  and  a disadvantage.  These  open  pores 
follow  the  figure  of  the  grain  so  that  by  making  them  con- 
spicuous or  inconspicuous,  one  may  greatly  intensify  or 
modify  the  character  of  the  grain. 

Oak  or  any  open-grain  wood  requires  that  the  pores  be 
filled  where  a varnish  finish  is  desired.  A specially  prepared 
paste  filler  is  provided  for  this  purpose  which  fills  the  pores 
and  levels  the  surface  for  varnishing.  When  the  filler  is 
omitted  a “bumpy”  effect  results,  due  to  the  varnish  sinking 
into  the  open  pores.  This  “bumpy”  surface  wears  through 
very  quickly  on  floors,  so  they  soon  look  shabby.  A properly 
filled  and  varnished  oak  floor  is  one  of  the  most  desirable 
and  attractive  of  all  floors  and  with  an  occasional  revarnish- 
ing, is  good  for  a lifetime. 

The  so-called  Mission  Finishes  in  fumed  oak,  weathered 
and  cathedral  oak,  are  simply  stained  finishes  to  represent 
these  types,  and  are  usually  given  only  those  finish  coats  as 
are  absolutely  necessary  to  protect  the  wood.  They  retain 


[ Papre  81  1 


S pec ifiral ions  on  pmjcs  95-97 


that  craftsman-like  “woody”  appearance  which  is  so  rugged 
and  attractive.  In  these  finishes,  the  pores  of  the  wood  are 
not  filled. 

The  grain  of  oak  may  be  brought  out  by  the  use  of  either  a 
dark  filler  or  a light  colored  or  white  filler,  usually  referred  to 
as  a toner.  In  using  a toner,  the  oak  should  first  be  brushed 
with  a wire  brush  to  thoroughly  open  all  the  pores  of  the  wood 
and  assure  the  even  distribution  of  the  toner.  Only  a lack  of 
knowledge  as  to  the  correct  color  combinations  and  right 
procedure  has  retarded  a broader  use  of  these  truly  beauti- 
ful treatments  of  oak.  They  are  appropriate  for  either 
straight  or  quarter-sawed  wood. 

A very  wide  range  of  color  effects  is  possible  and  ap- 
propriate to  work  out  over  oak.  Red  mahogany  stains,  how- 
ever, are  out  of  place  on  oak.  The  grain  of  oak  is  so  charac- 
teristic, that  a red  mahogany  finish  appears  as  a too  obvious 
imitation  of  the  other  wood.  Where  the  furniture  of  a room 
is  red  mahogany  and  a light  oak  piece  would  be  out  of  place, 
it  is  advisable  to  finish  that  piece  in  Dark  Brown  Mahogany 
or  a reddish-brown  such  as  Handcraft  Stain  Old  English 
Oak  or  Cathedral  Oak  (see  page  47  on  refinishing  old  furniture 
and  woodwork). 

Silver  gray  effects  are  popular  on  oak.  Selected  white 
oak  alone  is  suitable  for  this  work,  however,  as  red  oak  while 
yielding  a pleasing  effect,  does  not  permit  of  a true  gray 
because  of  its  reddish  cast. 

Oak  is  a valuable  cabinet  wood  and  deserves  careful 
handling  and  finishing.  Any  care  used  in  carrying  out  the 
detailed  specifications  in  finishing,  given  by  the  manufacturer, 
will  be  amply  repaid  as  oak  responds  splendidly  to  so  many 
types  of  finishes. 

Chestnut 

Chestnut  exhibits  a rather  coarse  grain  in  which  the  pores 
of  the  wood  are  quite  conspicuous.  To  the  trained  cabinet 
maker  and  finisher  these  pores  at  once  offer  an  opportunity 
to  produce  unique  art  effects  through  the  use  of  colored 
toners.  With  the  pores  of  the  wood  open,  prominent  and 
receptive,  why  not  make  them  attractive  through  color 
interest?  A builder  or  decorator  uses  such  woods  as  chestnut 
and  ash  for  special  effects  and  uses  oak  for  standard  effects. 
One  of  the  many  craft  effects  possible  with  chestnut  wood  is 


[ Page  83  ] 


shown  on  page  82.  If  a home  or  building  is  to  be  finished  in 
chestnut  trim,  additional  suggestions  may  be  secured  by 
writing  The  Sherwin-Williams  Co.  Department  of  Decoration, 
(101  Canal  Road,  Cleveland,  Ohio. 

Ash 

Ash  is  the  same  type  as  oak,  although  of  a somewhat 
lighter  color.  It  is  an  open-grain  wood  and  requires  a paste 
filler  for  satisfactory  results  and  service  in  a full  varnish 
finish.  Advantage  has  been  taken  of  the  light  color  of  ash  in 
the  color  reproduction  shown  on  page  86.  This  illustrates  a 
pleasing  weathered  gray  effect  which  would  be  exceedingly 
restful  and  pleasing  for  a living-room  or  den.  Finished  in  this 
manner,  the  gray  toner  replaces  the  customary  paste  filler. 

Pine 

Pine  may  be  classed  as  our  most  useful  wood.  It  is  a 
structural  wood,  used  for  the  framing  and  enclosing  of  our 
best  frame  dwellings,  and  has  so  interesting  a texture  and 
grain,  that  it  is  widely  used  for  the  interior  trim  as  well. 

Differing  from  oak,  the  quarter-sawed  or  edge  grain  in 
pine  is  not  interesting  in  figuration.  Edge  grain  pine  is 
harder  than  the  straight-sawed  wood,  however,  and  is  speci- 
fied for  floors  for  this  reason. 

White  pine  does  not  have  as  spirited  a grain  as  Southern 
pine,  but  is  preferred  along  with  birch  for  enamel  woodwork, 
because  of  its  close  texture  and  freedom  from  resinous  spots 
which  tend  to  discolor  white  enamel. 

Southern  pine,  while  finished  very  frequently  in  the 
natural,  is  really  better,  because  of  its  bright  yellow  tone, 
finished  in  stain.  Practically  any  stain  effect  is  good  over 
pine  with  the  exception  of  silver  gray.  The  yellow  of  the 
wood  makes  it  difficult  to  produce  a true  silver  gray.  Oregon 
pine  veneer  doors  frequently  are  exceedingly  well  figured 
and  while  of  course,  pine  does  not  resemble  mahogany  as  do 
birch  and  figured  red  gum,  it  does  take  mahogany  stains 
very  well.  Walnut,  brown  mahogany,  (>rown  oak  and 
weathered  oak,  are  a few  of  the  many  other  effects  recom- 
mended. Use  S-W  Oil  Stains  or  Handcraft  Stains  for  stain- 
ing pine.  Acid  Stains  tend  to  raise  the  grain  of  pine  and  their 
use  is  not  recommended.  See  page  86  for  additional  sugges- 
tions in  color. 


[ Papre  84  ] 


Oregon  Pine  or  Douglas  Fir 

This  wood  may  be  distinguished  from  pine  by  its  general 
redder  tone  in  place  of  the  sharp  yellow  color  of  Southern 
pine.  The  figure  of  the  grain  is  more  angular,  too,  than  pine. 

Fir  wood  takes  oil-stains  and  spirit  stains  with  splendid 
depth  of  color.  Acid  stains,  because  of  their  water  content, 
raise  the  grain  of  fir,  making  it  very  ridgey  and  rough,  so  that 
it  cannot  be  sanded  smooth  again.  For  certain  craft  effects, 
this  is  deliberately  induced  as  the  wood  will  then  accept  a 
toner  with  unique  results.  Color  reproductions  of  stained 
effects  on  this  wood,  are  shown  on  pages  82  and  8(i. 

Mahogany 

Mahogany  enjoys  the  unique  distinction  of  being  always 
associated  with  quality  in  cabinet  work.  This  marked  quality 
is  responsible  for  the  large  number  of  imitations  encountered. 
Strangely  enough,  the  color  of  red  commonly  associated  with 
the  term  mahogany,  is  not  the  natural  or  characteristic  color 
of  the  wood,  which  is  a light,  warm  brown  varying  with  dif- 
ferent specimens.  This  red  is  the  stained  effect  used  over 
mahogany  quite  generally  until  recent  years,  when  the 
antique  or  brown  mahogany  came  into  favor.  And  while  the 
brown  tone  is  at  present  the  more  popular  and  is  surely  sup- 
planting the  older  red  color,  the  latter  will  for  a long  time 
still  be  thought  of  as  “mahogany.” 

Mahogany  was  first  introduced  into  England  in  1597  by 
Sir  Walter  Raleigh,  in  one  of  whose  ships  this  wood  had  been 
used  for  some  repair  work.  The  wood  itself  was  greatly  ad- 
mired at  the  time,  but  it  was  not  until  about  150  years  later 
that  mahogany  became  an  article  of  commerce.  Mahogany 
was,  in  fact,  first  used  to  some  extent  in  shipbuilding  in  place 
of  oak,  and  is  still  used  in  building  small  pleasure  craft. 

The  natural  wood  has  a warm  reddish-brown  tone,  light 
in  color  but  darkening  with  age.  It  is  almost  always  stained, 
as  staining  enhances  and  strengthens  the  character  of  the 
grain.  The  tree  grows  rapidly  in  good  soil,  but  the  texture 
of  the  wood  becomes  coarser  than  when  the  tree  is  found 
in  more  barren  locations,  where  it  grows  slower.  Here  the 
grain  is  finer  and  possesses  better  figuration  and  is  superior 
for  the  cabinetmaker’s  art. 


[ Page  85  ] 


Southern  Pine 
No.  13 


Southern  Pine 
No.  14 


1 

flf 

fill 

ill 

||j 

-I 

1 if; 

i i ( i 

HI 

r® 

lli 

r f ? 

Southern  Pine 
No.  15 


Southern  Pine 
No.  l(i 


Southern  Pine 
No.  17 


Southern  Pine 
No.  18 


Southern  Pine 
No.  It) 


Southern  Pine 
No.  20 


Mahogany  has  open  pores  which  require  the  use  of  a 
paste  filler.  A dark  filler  is  generally  used,  black  with  a bit  of 
red  in  it,  which  is  always  applied  after  staining.  (S-W  Ma- 
hogany Paste  Filler.) 

Mahogany  is  found  principally  along  the  Florida  Keys, 
the  Bahamas,  West  Indies,  Mexico,  the  Philippines,  Central 
America  and  down  as  far  as  Peru  and  Brazil.  The  so-called 
Spanish  mahogany  is  regarded  by  some  as  the  best  quality 
and  comes  from  Cuba,  San  Domingo  and  the  West  Indies. 
Mexican  mahogany  perhaps  ranks  next,  being  named  after 
the  port  of  shipment  and  the  quality  is  recognized  in  the  order 
given:  Frontera,  Laguna,  Santa  Anna  and  other  ports.  Afri- 
can mahogany  is  coming  to  rival  American  wood  quite  gener- 
ally. 

Besides  the  true  mahoganies,  there  are  several  other 
woods  able  to  be  sold  along  with  mahogany  because  of  their 
very  close  resemblance  to  the  true  wood,  even  down  to  the 
type  of  grain  figuration  and  arrangement  of  the  pores. 

Prima  Vera,  called  white  mahogany,  is  one  of  these  woods. 
It  grows  in  Mexico  and  Central  America  and  is  of  a golden 
yellow  color  when  finished  without  staining,  and  for  certain 
color  schemes  is  a highly  desirable  wood.  Butternut  and 
white  walnut  are  sometimes  sold  as  white  mahogany,  but 
may  be  readily  detected. 

Spanish  cedar,  another  “mahogany,”  is  found  in  Mexico, 
Cuba  and  the  West  Indies.  This  tree  grows  very  rapidly, 
and  is  rather  porous.  It  resembles  mahogany  and  is  frequently 
sold  and  used  in  place  of  mahogany.  Its  principal  use,  how- 
ever, is  for  cigar  boxes.  Its  porous  quality  assists  in  seasoning 
the  cigars  and  its  odor  is  said  to  improve  the  flavor  of  the 
tobacco.  Mexico  is  the  chief  source  of  American  supply. 

The  grain  of  mahogany  varies  from  very  straight  wood  to 
the  most  gorgeous  markings  found  in  veneers  taken  from  the 
crotch  of  the  tree,  i.  e.,  where  a branch  joins  the  trunk.  Furni- 
ture made  of  the  solid  board  is  usually  of  rather  straight, 
modest  grain.  The  veneered  panel  is  really  stronger  than  the 
solid  board  and  permits  matching  and  placing  of  grain  figura- 
tions at  will.  In  making  veneer  panels,  the  grains  of  the 
core  wood  and  the  veneer  are  placed  at  angles,  thereby 
strengthening  the  piece  and  preventing  warping  and  splitting. 


[ Page  87  ] 


Sherwin-Williams  Mahogany  Stains  are  furnished  in  the 
Acid  (permanent)  type,  the  Handcraft  (or  spirit)  Stains,  and 
Oil  Stains,  each  having  well-defined  advantages  and  charac- 
teristics. These  stains  are  designed  to  produce  the  accepted 
standard  tones  of  red  and  brown  mahogany  on  true  mahogany 
wood,  and  on  the  other  woods  used  as  substitutes.  They  are 
also  highly  pleasing  on  birch,  gumwood  and  pine.  (See  page 
90  for  color  reproductions  of  these  effects.) 

American  Walnut 

English  or  royal  walnut  (Juglans  Regia),  a native  of  Persi  a 
was  the  only  available  species  of  walnut  until  the  introduction 
of  North  American  black  walnut  (Juglans  Nigra),  about  the 
middle  of  the  seventeenth  century.  This  beautiful  cabinet 
wood  was  one  of  the  first  imports  to  England  from  the  new 
world  and  by  1750  was  supplanting  English  and  Continental 
walnut  used  for  furniture. 

The  English,  French  and  Italian  walnut  is  somewhat 
similar  to  American  walnut,  but  inferior  in  both  strength  and 
beauty.  The  Circassian  and  Turkish  walnuts  are  of  the  same 
species,  but  are  good  examples  of  the  influence  of  environment 
and  soil  upon  tree  life.  The  barren  soil  or  other  adverse  con- 
ditions are  directly  responsible  for  a stunted,  gnarly  growth 
which,  while  impairing  the  beauty  of  the  tree,  gives  us  ex- 
tremely unique  and  attractive  figurations  of  grain,  usually 
streaked  with  black.  This  wood  is  used  only  for  veneers. 
The  English  walnut  is  cultivated  extensively  in  this  country 
for  its  fruit,  which  is  the  English  walnut  of  commerce. 

It  is  interesting  to  know  that  one  of  the  largest  uses  to 
which  walnut  was  originally  devoted,  was  the  manufacture  of 
gun-stocks.  It  is  still  the  only  wood  that  is  fully  satisfactory 
for  the  purpose.  During  the  late  war  the  entire  production  of 
walnut  was  under  government  control  and  used  solely  for 
gun-stocks  and  as  first  choice  for  airplane  propellers. 

For  thirty  years  prior  to  the  war  Europe  had  been  taking 
almost  the  entire  annual  production  of  American  walnut  for 
furniture  and  interior  trim.  This  naturally  created  a scarcity 
of  the  wood  here  and  the  impression  that  the  walnut  supply 
was  exhausted.  Fortunately  the  war  has  shown  that  this  is 
not  the  case. 


I Paste  88  | 


In  addition  to  plain,  straight  grain  wood  there  are  oc- 
casional trees  that  show  “figure”  when  cut.  Much  of  the 
figured  walnut  seen  in  pianos,  phonographs  and  furniture  panel 
work  comes  from  the  stump  of  the  tree  and  most  of  the 
matched  symmetrical  figures  are  of  stumpwood.  These  are 
veneers,  of  course,  and  not  practicable  for  use  in  average 
interior  woodwork  except  in  doors  and  paneled  wainseotings. 

There  is  another  source  of  figured  walnut  veneers  found  in 
walnut  “burls,”  which  are  large  knots  or  excresences  usually 
found  at  the  base  of  the  tree.  The  largest  of  these  weigh  up 
to  two  tons  and  when  sound,  furnish  a beautiful  mottled  or 
bird’s  eye  effect. 

The  principal  cause,  as  we  see  it,  for  the  change  of  public 
taste  from  walnut  to  the  golden  oak  craze,  which  was  with  us 
for  so  long,  was  a combination  of  poor  design  and  too  sombre 
finish.  With  the  advent  of  well  designed  period  furniture  in 
walnut,  has  come  a return  of  popular  favor  with  wicker  and 
enameled  finishes  furnishing  the  demand  for  brighter,  light 
colored  pieces. 

Walnut  is  a dark  toned  wood  which  may  be  finished  in  its 
natural  color  or  stained  as  desired.  It  is  an  open-grain  wood 
and  requires  the  use  of  a walnut  paste  filler  for  a full  varnish 
finish. 

Unique  art  effects  which  are  truly  beautiful,  may  be  pro- 
duced with  walnut  by  using  a light  colored  toner  in  place  of 
the  regular  dark  filler.  As  a suggested  effect,  apply  S-W 
Handcraft  Stain  Walnut,  a very  thin  coat  of  pure  white 
shellac,  using  Sherwin-Williams  Flat  -Tone  Silver  Gray  as  the 
toner.  This  should  then  be  finished  with  a thin  coat  of  pure 
white  shellac  and  S-W  Velvet  Finish  Varnish  No.  1044. 
Carved  portions  of  the  furniture  are  splendid  polichromed  in 
dull  gray-blues,  orange  and  greens.  (See  page  57  for  Handcraft 
System  Effects.) 

B irch 

One  can  hardly  be  censured  for  referring  to  this  cabinet 
wood  as  “Beautiful  Birch.”  Its  fine  silky  grain  gives  birch 
a rather  feminine  quality,  although  the  wood  itself  is  very 
hard  and  does  not  dent  or  bruise  easily.  These  two  qualities 
of  hardness  and  fineness  of  grain  make  birch  the  very  finest 
wood  possible  for  enamel  finishes.  There  are  others  as  close 
grained,  such  as  gum  wood,  poplar  and  white  pine,  but  these 
are  not  so  hard. 


I Page  89  ] 


Mahogany 
No.  25 


Mahogany 
No.  26 


Birch,  No.  21 


Birch,  No.  28 


Gum  Wood 
No.  35 


Gum  Wood 
No.  36 


Specifications  on  pages  99-101 


! 


I 


Selected  birch  often  displays  interesting  grain  figuration 
and  curly  birch  is  most  attractive.  Such  wood  is  most  beauti- 
ful stained  in  either  red  or  brown  mahogany,  walnut  or  brown 
oak.  White  birch  (the  heart  wood  of  the  tree  is  known  as 
red  birch)  lends  itself  readily  to  silver  gray  effects. 

Although  birch  is  classed  as  a close-grain  wood,  there 
are,  nevertheless,  minute  pores  which  will  take  a paste  filler, 
thereby  bringing  out  the  character  of  the  wood  more  effec- 
tively. We  recommend  the  use  of  a dark  paste  filler  with 
stain  effects  on  birch — a white  filler  or  toner  for  silver  gray 
stain  on  birch.  See  page  94. 

Cherry 

Cherry  wood  has  a pleasing  reddish  tone  and  is  a fine 
grain  hardwood.  Cherry  is  not  as  common  as  mahogany,  but 
deserves  an  equal  rank.  The  natural  color  of  the  wood  is  not 
in  favor  at  present,  nor  is  the  color  known  as  “cherry”  in 
demand.  This  wood  takes  a mahogany  stain  very  well, 
however,  and  its  naturally  interesting  grain  should  give  a very 
satisfactory  room.  See  page  94. 

Cypress 

The  grain  of  cypress  is  very  easily  recognized.  It  has  a 
lacy  pattern,  truly  beautiful.  Cypress  is  an  oily  wood  pos- 
sessing great  durability  for  exterior  work.  This  same  pro- 
perty is  probably  responsible  for  the  fact  that  cypress  wood- 
work does  not  swell  or  shrink  to  any  degree. 

For  most  effective  and  clean  work  with  staining  cypress,  it 
is  advisable  to  wipe  off  the  surface  carefully  with  benzine 
to  remove  the  oil  and  facilitate  penetration  of  the  stain.  It 
is  necessary  to  do  this  shortly  before  staining,  however,  as  the 
oil  has  a tendency  to  rise  again. 

Cypress  varies  somewhat  in  color,  some  specimens  being 
quite  white  and  others  quite  red  in  tone.  Any  of  the  brown 
stains  take  well  on  cypress  and  red  mahogany  is  quite  strik- 
ingly attractive.  On  page  94,  are  shown  effects  somewhat 
out  of  the  ordinary.  The  use  of  Handcraft  Stain  Silver  Gray 
gives  a very  pleasing  Circassian  Walnut  tone  while  Green 
Weathered  Oak  is  very  interesting  too.  Sherwin-Williams 
Handcraft  Stains  or  Oil  Stains  will  produce  the  most  satis- 
factory effects  on  this  type  of  wood. 


| Page  91  ] 


Sugied  cypress  is  produced  by  charring  the  surface  of  the 
wood  with  a blow  torch.  The  flakes  of  the  wood  do  not  burn 
as  readily  as  the  softer  parts.  A wire  brush  is  then  used  to 
remove  most  of  the  charcoal  and  the  wood  may  then  receive 
a white  or  colored  toner,  shellac  and  Velvet  Finish  Varnish. 

California  Redwood 

California  redwood  is  the  commercial  lumber  obtained 
from  the  giant  Sequoia  trees  of  that  state.  It  is  claimed  that 
the  great  age  of  these  trees,  ranging  from  800  to  2000  years, 
gives  the  wood  great  natural  preservative  qualities,  afford- 
ing the  wood  a natural  seasoning  which  prevents  warping 
or  splitting.  It  is  not  unusual  to  see  redwood  panels  five  feet 
wide  which  keep  their  shape  without  shrinking  or  swelling. 
The  wood,  because  of  the  size  of  the  trees,  is  remarkably  free 
from  knots.  In  color  it  is  of  a pronounced  reddish  hue  which 
may  be  finished  in  the  natural  or  stained. 

Green  stains  produce  dark  rich  velvety  tones  which  are 
truly  beautiful,  inasmuch  as  the  red  of  the  wood  still  is  in 
evidence  in  the  harder  portions  of  the  grain.  Sherwin-Williams 
Handcraft  Stains  or  Oil  Stains  are  recommended  for  finishing 
redwood.  Acid  Stains  tend  to  raise  the  grain  of  this  wood  so 
badly  that  satisfactory  effects  are  difficult  to  secure. 

Interesting  color  samples  of  stain  effects  with  redwood 
are  shown  on  page  98. 


Gum  W ood 

Difficulties  experienced  at  one  time  in  the  curing  and 
seasoning  of  the  lumber,  have  been  overcome  so  that  gum 
wood  is  a highly  satisfactory  wood  for  cabinet  work  and  in- 
terior finish.  Gum  is  a very  close-knit  wood  of  fine  texture. 
The  tree  produces  both  heart  and  sap  wood,  the  former  being 
the  red  gum  of  commerce. 

It  seems  that  the  figuration  of  grain  is  largely  a matter  of 
individuality  with  each  tree,  there  being  no  reason  to  determine 
why  one  log  will  saw  up  and  produce  interesting  grain,  while 
the  next  one  will  prove  relatively  plain  and  uninteresting. 
Soil  and  situation  undoubtedly  have  their  influence  on  the 
figuration  of  the  wood.  In  a good  log  figured  grain  is  found  by 
either  quarter-sawing  or  straight-sawing.  The  figure  does  not 
f ollow  any  line  of  yearly  deposit  as  with  oak  or  chestnut  for 


[ Page  92  ] 


example,  but  the  colors  cross  the  yearly  rings  in  every  direc- 
tion. In  this  respect  the  figure  of  red  gum  resembles  that 
of  Circassian  walnut,  so  that  with  a special  stain  for  the 
purpose,  very  good  Circassian  walnut  effects  may  be  pro- 
duced with  figured  red  gum  wood.  Figured  gum  veneers, 
when  made  by  the  rotary  cut  process,  give  wide  panels  in  a 
single  piece. 

Plain  gum  is  suitable  as  a base  for  enamel  finishes  because 
of  its  fine,  even  texture.  Figured  gum  has  been  extensively 
used  by  furniture  makers  for  both  walnut  and  mahogany 
substitutes.  It  is  most  valuable,  however,  for  furniture  and 
wood  trim,  finished  in  natural  color.  See  page  !)(). 


[ Page  93  ] 


Birch,  No.  41  Birch,  No.  42  Birch,  No.  43 


( \vpre> 
No.  4t> 


Birch,  No.  37  Birch,  No.  38  Birch,  No.  39  Birch,  No.  40 


Cherry 
No.  44 


Cv  press 
No.  48 
Specifications  on  pages  t0t-10 ? 


Number 


Number 


Number 


Number 


Number 


Specifications  for  Wood  Panels 

Shown  on  pages  82,  86,  90,  90,  98 

1 —  Quartered  Oak,  finished  natural.  Suitable  for 

woodwork  or  floors. 

Sherwin-Williams  Oak  Paste  Filler  or  Transparent  Paste 
Filler. 

Three  coats  Sherwin-Williams  Scar-not  Varnish  for 
woodwork. 

Three  coats  Sherwin-Williams  Mar-not  Varnish  for  floors. 
Reduce  the  first  coat  of  varnish  10%  with  pure  spirits 
turpentine  to  secure  penetration. 

Three  coats  of  varnish  are  recommended,  the  first  two 
sanded  with  00  sandpaper,  the  last  coat  left  in  the 
natural  gloss  or  rubbed  dull  and  waxed  if  desired. 
(See  page  52.) 

2 —  Quartered  Oak,  finished  with  Sherwin-Williams 

Antique  Oak  Paste  Filler. 

This  finish  is  suitable  for  both  woodwork  and  floors. 
Antique  Paste  Filler  darkens  the  wood  in  addition 
to  filling  the  pores. 

On  selected  wood  or  quarter-sawed  wood  where  it  is 
desired  to  bring  out  the  full  character  of  the  grain, 
the  wood  should  be  brushed  with  a stiff  bristle  brush 
to  open  up  the  pores  before  filling. 

This  effect  requires  the  same  finishing  coats  as  number 
one. 

3 —  Straight  Oak,  finished  in  Brown  Oak  Stain. 

Suitable  for  woodwork  and  in  certain  cases, 
public  buildings,  etc.  It  is  suitable  for  floors. 
Sherwin-Williams  Handcraft  Stain  Brown  Oak. 
Sherwin-Williams  Golden  Oak  Paste  Filler. 

Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish  for  wood- 
work. 

Two  coats  Mar-not  Varnish  for  floors.  (See  page  51.) 

4 —  Quartered  Oak,  a cool  Gray  effect  suitable  for 

woodwork  trim. 

Sherwin-Williams  Handcraft  Stain  Early  English  Oak. 
Sherwin-Williams  Golden  Oak  Paste  Filler. 

Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish.  (See 
page  51.) 

5 —  Straight  Oak, finished  in  a Fumed  Oak  effect. 

Suitable  for  woodwork  and  furniture  in  the 
Mission  or  Craftsman  style. 

Sherwin-Williams  Acid  Stain  Fumed  Oak,  or 
Sherwin-Williams  Handcraft  Stain  Fumed  Oak. 

Thin  coat  pure  White  Shellac  or  Sherwin-Williams 
Mission-lac. 

One  coat  Sherwin-Williams  Velvet  Finish  Varnish  No. 
1044. 

Wrax  may  follow  the  Shellac  or  Mission-lac,  if  preferred. 


[ Page  95  ] 


Number 


Number 


Number 


Number 


Number 


Number 


6 —  Straight  Oak,  finished  in  Cathedral  Oak  effect. 

Suitable  for  woodwork. 

Sherwin-Williams  Handcraft  Stain  Cathedral  Oak. 

Thin  coat  pure  White  Shellac  or  Sherwin-Williams 
Mission-lac. 

One  coat  Sherwin-Williams  Velvet  Finish  Varnish  No. 
1044. 

7 —  Straight  Oak,  finished  in  a soft  Weathered  Gray 

effect.  Suitable  for  woodwork  and  for 
furniture  in  the  Mission  or  Craftsman  style. 
Sherwin-Williams  Handcraft  Stain  Weathered  Oak. 

Thin  coat  pure  White  Shellac  or  Sherwin-Williams 
Mission-lac. 

One  coat  Sherwin-Williams  Velvet  Finish  Varnish  No. 
1044. 


S — Quartered  Oak,  finished  in  a two-tone  effect. 
Sherwin-Williams  Handcraft  Stain  Old  English  Oak. 
Thin  coat  pure  White  Shellac,  reduced  with  denatured 
alcohol  if  too  heavy. 

Sherwin-Williams  Flat-Tone  Bright  Sage  toner.  (See 
page  59.) 

Thin  coat  pure  White  Shellac. 

One  coat  Sherwin-Williams  Velvet  Finish  Varnish  No. 
1044. 


9 — Oregon  Pine  or  Douglas  Fir,  finished  in  a two- 
tone  Gray  effect. 

Sherwin-Williams  Acid  Stain  Silver  Gray. 
Sherwin-Williams  Flat-Tone  Mixture  Buff  Stone  and 
Pale  Azure  toner.  (See  page  59.) 

Thin  coat  pure  White  Shellac. 

One  coat  Sherwin-Williams  Velvet  Finish  Varnish  No. 
1044. 


10 — Chestnut  Wood,  finished  in  a two-tone  effect. 
Sherwin-Williams  Handcraft  Stain  Old  English  Oak. 
Thin  coat  pure  White  Shellac,  reduced  with  denatured 
alcohol  if  too  heavy. 

Sherwin-Williams  Flat-Tone  Forest  Green  toner.  (See 
page  59.) 

Thin  coat  pure  White  Shellac. 

One  coat  Sherwin-Williams  Velvet  Finish  Varnish  No. 
1044. 


II — Quartered  Oak,  finished  in  a two-tone  Gray 
effect. 

Sherwin-Williams  Handcraft  Stains  Weathered  Oak  and 
Fumed  Oak,  equal  parts. 

Sherwin-Williams  Flat-Tone  Silver  Gray  toner.  (See 
page  59.) 

Thin  coat  pure  White  Shellac. 

One  coat  Sherwin-Williams  Velvet  Finish  tarnish  No. 
1044. 


[ Page  96  ] 


Num  her 


Number 


Number 


N li  tuber 


Num  her 


Number 


Nu  ruber 


Number 


Number 


17-  Quartered  Oak,  finished  in  a Silver  Gray  effect 
with  toner. 

Sherwin-Williams  Acid  Stain  Silver  Gray. 

Sherwin-Williams  Flat-Tone  White  toner.  (See  page  .>9.) 

Thin  coat  pure  White  Shellac. 

One  coat  Sherwin-Williams  Velvet  Finish  Varnish  No. 

1044. 

13 — Southern  Pine,  finished  in  Dark  Oak. 

Sherwin-Williams  Oil  Stain  Dark  Oak. 

Two  coats  Sherwin-Williams  Scar-not  Varnish  for 

woodwork. 

Two  coats  Sherwin-Williams  Mar-not  Varnish  for  floors. 

15 — Southern  Pine,  finished  in  Colonial  Oak. 

Sherwin-Williams  Oil  Stain  Colonial  Oak. 

Two  coats  Sherwin-Williams  Scar-not  Varnish  for 

woodwork. 

Two  coats  Sherwin-Williams  Mar-not  Varnish  for  floors. 

15 —  Southern  Pine,  finished  in  Weathered  Gray. 

Sherwin-Williams  Handcraft  Stain  Weathered  Oak. 

Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish  for 

woodwork,  or 

Thin  coat  pure  White  Shellac. 

One  coat  Sherwin-Williams  Velvet  Finish  Varnish  No. 
1044. 

16 —  Southern  Pine,  finished  in  Mahogany  effect. 

Sherwin-Williams  Handcraft  Stain  Extra  Dark  Ma- 
hogany. 

Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish. 


17 — Southern  Pine,  finished  in  Nut  Brown. 

Sherwin-Williams  Handcraft  Stain  Brown  Oak. 
Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish. 


IS — Southern  Pine,  finished  in  Dark  Gray. 

Sherwin-Williams  Handcraft  Stain  Early  English  Oak. 
Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish. 


19 — Southern  Pine,  finished  in  Cathedral  Brown. 

Sherwin-Williams  Handcraft  Stain  Cathedral  Oak. 

Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish,  or 
Thin  coat  pure  White  Shellac. 

One  coat  Sherwin-Williams  Velvet  Finish  Varnish  No. 
1044. 

70 — Southern  Pine,  finished  in  Forest  Green. 

Sherwin-Williams  Handcraft  Stain  Bog  Oak. 

Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish. 


[ Pace  97  ] 


California 
Redwood 
No.  49 


California 
Redwood 
No.  50 


< alil’ornia 

Redwood 
No.  51 


California 
Redwood 
No.  52 


California 
Redwood 
No.  o'.i 


i 


Number 


N umber 


Number 


Number 


Number 


Number 


Number 


21 — Ash,  finished  in  Weathered  Gray. 

Sherwin-Williams  Handcraft  Stains  Weathered  and 
Fumed  Oaks,  equal  parts. 

Thin  coat  pure  White  Shellac. 

Toner,  Flat-Tone  Silver  Gray. 

Thin  coat  pure  White  Shellac. 

One  coat  Sherwin-Williams  Velvet  Finish  Varnish  No. 
1044. 


22 — Oregon  Pine  or  Douglas  Fir,  finished  in 
Colonial  Oak. 

Sherwin-Williams  Oil  Stain  Colonial  Oak. 

Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish 


23 — Oregon  Pine  or  Douglas  Fir,  finished  in  a 
Silver  Gray  effect. 

Sherwin-Williams  Acid  Stain  Silver  Gray. 

Toner,  Flat-Tone  Shell  Pink  and  Pale  Azure,  equal  parts. 
Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish. 

One  coat  Sherwin-Williams  Velvet  Finish  Varnish  No. 
1044. 


24 — Oregon  Pine  or  Douglas  Fir,  finished  in  Warm 
Brown. 

Sherwin-Williams  Oil  Stain  Walnut. 

Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish. 


25 — Mahogany  Wood,  finished  in  Antique  Brown. 

Sherwin-Williams  Acid  Stain  Antique  Brown  Mahogany. 
Sherwin-Williams  Mahogany  Paste  Filler.  (See  page  56.) 
Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish.  (See 
page  51.) 


26‘ — Mahogany  Wood,  finished  in  Dark  Colonial 
Mahogany  effect. 

Sherwin-Williams  Acid  Stain  Dark  Colonial  Mahogany. 
Sherwin-Williams  Mahogany  Paste  Filler.  (See  page  56.) 
Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish.  (See 
page  51.) 


27-  Birch,  finished  in  Antique  Brown  Mahogany 
effect. 

Sherwin-Williams  Acid  Stain  Antique  Brown  Mahogany. 
Sherwin-Williams  Mahogany  Paste  Filler.  (See  page  56.) 
Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish.  (See 
page  51 .) 


[ Page  99  ] 


Number  28 — Birch,  finished  in  Dark  Colonial  Mahogany 
effect. 

Sherwin-Williams  Acid  Stain  Dark  Colonial  Mahogany. 
. Sherwin-Williams  Mahogany  Paste  Filler. 

Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish.  (See 
page  51.) 


Number  29 — Mahogany  Wood,  finished  in  Adam  Brown 
Mahogany  effect. 

Sherwin-Williams  Handcraft  Stain  Adam  Brown  Ma- 
hogany. 

Sherwin-Williams  Mahogany  Paste  Filler.  (See  page  56). 
Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish.  (See 
page  51.) 


Number  30 — Mahogany  Wood,  finished  in  Dark  Mahogany 
effect. 

Sherwin-Williams  Handcraft  Stain  Extra  Dark  Ma- 
hogany. 

Sherwin-Williams  Mahogany  Paste  Filler.  (See  page  56.) 

Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish.  (See 
page  51.) 


Number  31 — American  Walnut,  finished  in  full  varnish  finish. 

Sherwin-Williams  Walnut  Paste  Filler.  (See  page  56.) 
Two  coats  Sherwin-Williams  Scar-not  Varnish.  (See 
page  51.) 


Number  32 — Circassian  Walnut  Wood,  finished  in  full  varnish 
finish. 

Sherwin-Williams  Walnut  Paste  Filler.  (See  page  56.) 
Two  coats  Sherwin-Williams  Scar-not  Varnish.  (See 
page  51.) 


Number  33 — Figured  Red  Gum  Wood,  finished  in  a Cir- 
cassian Walnut  effect. 

Sherwin-Williams  Handcraft  Stains  Early  English  Oak, 
1 part  and  Brown  Oak,  3 parts. 

Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish.  (See 
page  51.) 


Number  3U — Birch,  finished  in  a soft  Brown  effect. 

Sherwin-Williams  Handcraft  Stain  Brown  Oak. 

Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish.  (See 
page  51.) 


[ Page  100  ] 


Number  35 — Figured  Red  Gum  Wood,  finished  in  Antique 
Brown  Mahogany. 

Sherwin-Williams  Acid  Stain  Antique  Brown  Mahogany. 
Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish. 

Number  36 — Figured  Red  Gum  Wood,  finished  in  Dark 
Colonial  Mahogany. 

Sherwin-Williams  Acid  Stain  Dark  Colonial  Mahogany. 
Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish.  (See 
page  51.) 

Number  37 — Birch,  finished  in  Silver  Gray. 

Sherwin-Williams  Acid  Stain  Silver  Gray. 

Toner,  Flat-Tone  White. 

Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Velvet  Finish  Varnish  No. 
1044. 

Number  38 — Birch,  finished  in  Cathedral  Brown. 

Sherwin-Williams  Handcraft  Stain  Cathedral  Oak. 

Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish. 


Number  39— -Birch,  finished  in  Adam  Brown. 

Sherwin-Williams  Handcraft  Stain  Adam  Brown  Ma- 
hogany. 

Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish. 

Number  40— Birch,  finished  in  Moss  Green. 

Sherwin-Williams  Handcraft  Stain  Green  Weathered 
Oak. 

Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish. 

Number  51 — -Birch,  finished  in  Mouse  Gray 

Sherwin-Williams  Handcraft  Stain  Early  English  Oak. 
Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish. 

Number  4 2 — Birch,  finished  in  Empire  Green 

Sherwin-Williams  Oil  Stain  Moss  Green. 

Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish. 

Number  4 3 — Birch,  finished  in  Dark  Mahogany. 

Sherwin-Williams  Handcraft  Stain  Extra  Dark  Ma- 
hogany. 

Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish. 

Number  44 — Cherry,  finished  in  Light  Mahogany. 

Sherwin-Williams  Handcraft  Stain  Light  Mahogany. 
Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish. 


t Page  101  ] 


Number  45 — Cypress,  finished  in  Olive  Green. 

Sherwin-Williams  Handcraft  Stain  Green  Weathered 
Oak. 

Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish. 

Number  4 6 — Cypress,  finished  in  Warm  Brown. 

Sherwin-Williams  Oil  Stain  Walnut. 

Two  coats  Sherwin-Williams  Scar-not  Varnish. 

Number  47 — Cypress,  finished  in  Circassian  Walnut  effect. 

Sherwin-Williams  Handcraft  Stain  Silver  Gray. 

Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish. 


Number  48 — Cypress,  finished  in  Cathedral  Brown. 

Sherwin-Williams  Handcraft  Stain  Early  English  Oak. 
Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish. 

Number  49 — -California  Redwood,  finished  in  Deep  Forest 
Green. 

Sherwin-Williams  Handcraft  Stain  Bog  Oak. 

Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish. 


Number  50 — California  Redwood,  finished  in  Dark  Ma- 
hogany. 

Sherwin-Williams  Handcraft  Stain  Extra  Dark  Ma- 
hogany. 

Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish. 

Number  51 — California  Redwood,  finished  in  Cathedral 
Brown. 

Sherwin-Williams  Handcraft  Stain  Cathedral  Oak. 

Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish. 

Number  52 — California  Redwood,  finished  in  Nut  Brown. 

Sherwin-Williams  Handcraft  Stain  Brown  Oak. 

Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish. 


Number  53 — California  Redwood,  finished  in  Weathered 
Gray. 

Sherwin-Williams  Acid  Stain  Silver  Gray. 

Toner,  Flat-Tone  Buff  Stone  and  Pale  Azure,  equal  parts. 
Thin  coat  pure  White  Shellac. 

One  coat  Sherwin-Williams  Velvet  Finish  Varnish  No. 
1044. 

Number  54 — California  Redwood,  finished  in  Flemish  Brown. 

Sherwin-Williams  Handcraft  Stain  Early  English  Oak. 
Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish. 


[ Page  102  ] 


Number  55 — California  Redwood,  finished  in  Tavern  Green. 

Sherwin-Williams  Handcraft  Stain  Green  Weathered  Oak. 
Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish,  or 
Thin  coat  pure  White  Shellac. 

One  coat  Sherwin-Williams  Velvet  Finish  Varnish  No. 
1044. 

Number  56 — California  Redwood,  finished  in  Old  English 
Brown. 

Sherwin-Williams  Handcraft  Stain  Old  English  Oak. 
Thin  coat  pure  White  Shellac. 

I'wo  coats  Sherwin-Williams  Scar-not  Varnish,  or 
Thin  coat  pure  White  Shellac. 

One  coat  Sherwin-Williams  Velvet  Finish  Varnish  No. 
1044. 

Number  57 — Maple,  finished  for  floors. 

Three  coats  Sherwin-Williams  Mar-not  Varnish,  first 
coat  reduced  ten  per  cent  with  pure  spirits  of  tur- 
pentine. 

Number  58 — Cypress,  finished  in  Warm  Brown. 

Sherwin-Williams  Handcraft  Stain  Brown  Oak. 

Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish. 

Number  59 — Cypress,  finished  in  Dark  Mahogany. 

Sherwin-Williams  Handcraft  Stain  Extra  Dark  Ma- 
hogany. 

Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish. 

Number  60 — Cypress,  finished  in  Brown  Mahogany  effect. 

Sherwin-Williams  Handcraft  Stain  Old  English  Oak. 
Thin  coat  pure  White  Shellac. 

Two  coats  Sherwin-Williams  Scar-not  Varnish. 


[ Page  103  ] 


A Charm  i ii<i  Liriny- Room  in  Cray  and  (,reen 


What  a pleasant  surprise  it  is  to  come  into  a cool  room  such 
as  this.  Bright  bits  of  color  have  been  introduced  very 
subtly  in  the  gorgeous  Chinese  lacquered  cabinet  whose  dull 
tan  and  red-orange  seem  to  call  for  just  such  complementary 
spots  of  color  as  are  furnished  by  the  blue  pillows  in  the 
lounging  chair.  A veritable  splash  of  color  is  contributed  1>\ 
the  lilies,  whose  tiger-like  beauty  furnish  a rare  spirit  ior  the 
general  scheme.  1 he  stippled  wall  robs  the  room  of  all  pos- 
sibility of  stiff  formality. 


Specifications  on  pa tje  / 47 


Chapter  IX 

Color  Harmony  Applied  in  Ike  Horne 

WHILE  the  subject  of  color  and  its  application,  like 
music,  may  be  made  a lifetime  study,  a familiarity 
with  the  rudimentary  principles  underlying  the  use  of 
color  will  be  valuable  and  can  be  obtained  readily  even  where 
one  hasn't  the  time  for  more  extended  reading.  Colors  do  not 
just  happen.  Every  tint  or  shade  one  sees  has  its  own  individ- 
uality and  its  group  of  related  colors  and  shades.  To  know 
the  relationship  any  color  has  to  its  neighbors  in  the  color 
wheel  is  to  know  what  tones  to  put  together  to  make  a room, 
a picture,  a piece  of  embroidery,  a dress  or  one’s  own  person 
appear  to  best  advantage. 

With  this  knowledge  of  the  relationship  of  colors  must 
come,  also,  an  understanding  of  the  effect  a certain  color 
has  upon  the  appearance  of  a surface  and  the  sensation 
one  feels  in  being  surrounded  by  any  color  or  group  of  colors, 
as  color  affects  color.  In  the  spectrum  there  are  three  colors, 
red,  yellow  and  blue,  which  are  regarded  as  the  primary  colors 
because  from  them  all  colors  are  made.  As  a color  becomes 
lighter  the  result  is  designated  as  a tint  of  that  color.  Pink 
is  a tint  of  red;  lavender  of  violet,  etc.  As  a color  is  made 
darker  it  is  called  a shade  of  that  color. 

Combining  these  primary  colors  one  produces  the  binary 
or  secondary  colors; 

Red  and  yellow  produce  orange. 

Red  and  blue  give  violet. 

Yellow  and  blue  give  green. 

These  further  combinations  can  be  carried  out : 

Yellow  and  orange  combined  give  yellow  orange. 

Red  and  orange  combined  give  red  orange. 

Red  and  violet  combined  give  red  violet. 

Blue  and  violet  combined  give  blue  violet. 

Yellow  and  green  combined  give  yellow  green. 

Blue  and  green  combined  give  blue  green. 

These  twelve  colors  then  complete  our  circle. 


[ Page  105  ] 


Every  color  we  know  is  some  form  of  t lie  colors  shown 
around  the  edge  of  this  circle.  Perhaps  the  color  is  a simple 
tint  or  shade  of  one  of  these  colors.  Very  often  the  color  in 
question  lies  somewhere  between  two  complementary  colors 
upon  the  line  which  connects  them.  These  in-between  tones 
represent  one  of  the  principal  colors  to  which  some  of  its 
complement  has  been  added.  For  example:  Add  a small 
amount  of  orange  to  its  complement  blue — the  blue  becomes 
slightly  grayed.  As  more  orange  is  added  the  blue  will  finally 
become  a neutral  gray.  If  orange  is  still  added  the  resultant 
color  will  come  over  to  the  orange  side  and  become  a grav- 
orange  and  so  the  process  may  be  carried  out  with  any  two 
related  colors  until  we  have  all  the  colors  at  our  disposal 
required  in  decorative  art. 

The  question  frequently  comes  up  as  to  what  is  a clean 
color  and  what  makes  a color  appear  dirty.  A color  may  be 
satisfactory  and  pleasing  as  a wall  color  which  would  be 
unsuited  and  dirty  in  appearance  if  made  up  into  a dress. 


BLUE  GREEN 


RED  ORANGE 


BLUE 


GRAY  VIOLET 


• k • 

BI  LE  VIOLET  RED  MOLET 


RED 


\ IOLET 


f Page  106  1 


Here  the  sense  of  what  is  appropriate  must  govern  one’s 
choice.  Inasmuch  as  a pure  color  such  as  prismatic  blue,  red, 
yellow,  orange,  violet  and  green  are  much  too  intense  in  tone 
to  use  generally  in  very  large  quantities,  the  various  colors 
we  know  as  wall  colors  and  colors  for  fabrics  have  to  be  what 
are  really  known  as  grayed  colors.  Any  one  of  these  can  be 
made  to  appear  dirty  if  placed  in  combination  with  colors 
which  are  too  pure  in  tone  or  to  which  they  are  unrelated. 
The  remedy  would  be  to  determine  the  color  which  charac- 
terizes the  tone  under  consideration  and  to  then  introduce  the 
complementary  color  in  either  bright  small  bits  as  in  a flower 
or  to  use  that  color  in  a softer,  grayed  tone. 

Color,  in  its  relation  to  home  life,  is  more  important  than 
in  any  of  its  many  other  uses.  It  influences  our  daily  thoughts 
and  actions  and  can  make  a home  a pleasant  place  for  all  or 
something  quite  otherwise.  Colors,  red,  yellow,  blue  and  their 
many  related  hues  have  as  definite  and  individual  character 
as  any  person  and  are  as  positive  in  the  effect  they  produce. 
Like  persons,  colors  are  affected  by  adjacent  colors  with  which 
they  may  be  combined  and  the  success  of  the  final  result  calls 
for  careful  planning  in  their  placing. 

Most  people  show  good  taste  in  selecting  articles  in  color 
with  which  to  surround  themselves  and  with  few  exceptions 
the  rooms  of  these  homes  will  be  fairly  pleasing  in  general 
effect  even  where  lacking  individuality.  Frequently,  however, 
the  changing  of  a rug,  the  overdrapes  or  the  introduction  of 
some  brighter  bit  of  color  will  tone  up  the  entire  scheme  and 
produce  results  little  short  of  marvelous. 

Everyone  has  certain  colors  which  are  preferred  over 
others.  These  colors  are  naturally  in  mind  as  what  that 
person  wants  in  his  room  or  his  house.  Usually  the  thought 
does  not  become  any  more  definite  than  that  a blue  room,  or 
a yellow  room,  is  desired.  When  the  keynote,  or  leading  color, 
for  each  room  has  been  decided  upon,  a color  scheme  should 
be  carefully  built  up  which  will  make  that  color  appear  most 
interesting. 

Monochromatic  Harmony 

There  are  three  kinds  of  color  harmony  one  may  employ : 
Monochromatic,  analogous  and  complementary.  Mono- 
chromatic makes  use  of  one  color,  treating  the  various  sur- 
faces and  objects  of  the  room  in  different  shades  and  tints  of 


[ Pagre  107  ] 


A Cheerful  Dining- Boom  in  Modern  Treatment 


A combination  in  dull  blue  and  old  ivory  is  always  clean 
and  refreshing.  The  blue  has  been  made  possible  for  these 
walls  by  first  graying  the  blue  and  then  freshening  it  up  by 
stippling  over  with  the  cream  gray.  The  result  is  a soft 
tapestry  like  texture  altogether  pleasing.  The  deep  blue  of 
the  rug  makes  it  possible  to  bring  in  the  brighter  blue  of  the 
conventional  piece  over  the  buffet.  The  yellow  notes  and  the 
orange  of  the  flowers  and  lamp  shade  are  necessary  for  ac- 
cent . 


Specifications  on  patjr  J -ft7 


that  color.  Such  a scheme,  for  instance,  would  call  for  a very 
light  blue  for  the  ceiling,  walls  a darker  blue,  a still  darker  blue 
for  rugs  and  overdrapes,  with  white  curtains  and  white  enamel 
furniture  and  woodwork.  This  scheme,  while  correct,  will 
become  very  monotonous. 

Analogous  Harmony 

Analogous  harmony  enables  one  to  use  related  colors  lying 
next  in  the  color  scale  to  the  one  chosen.  Using  blue  again, 
these  related  colors  would  be  blue-green  and  violet,  with,  of 
course,  the  different  tints  and  shades  of  both.  Now  inasmuch 
as  one  would  not  want  blue  walls  in  combination  with  either 
blue-green  or  violet  curtains,  etc.,  a different  handling  becomes 
necessary.  The  scheme  would  then  be:  Ceiling  an  oyster 
gray,  or  an  ivory-white;  walls,  a warm  gray;  rugs,  a dark 
blue;  overdrapes,  in  figured  cretonne  with  blue  as  the  principal 
color  and  other  tones  in  gray,  blue-green  and  violet.  This  room 
is  more  interesting  than  the  monochromatic  harmony,  but 
very  great  improvement  can  be  made. 

Complementary  Harmony 

Complementary  harmony  calls  for  the  most  careful  com- 
bining of  colors  so  as  to  retain  a balanced  effect,  but  through 
its  use  the  most  pleasing  results  can  be  had,  which  will  have  a 
permanent  value  and  will  not  become  tiresome.  Let  us  take 
our  monochromatic  scheme  in  blue  and  see  what  complemen- 
tary harmony  will  do  for  it.  The  ceiling  will  become  ivory- 
white,  the  woodwork  ivory-white  enamel,  both  very  light 
tints  of  orange,  the  complementary  color  of  blue.  Deeper 
orange  may  be  used  for  the  sofa  or  cushions  and  the  curtains 
may  be  ecru  net  with  blue  overdrapes,  while  the  rugs  can 
contain  both  dull  blue  and  old  ivory.  A brilliant  orange  vase 
will  add  accent  and  a delightful  color  note. 

In  connection  with  planning  any  room  in  color,  it  is 
essential  to  remember  this,  that  the  larger  the  surface  the 
softer  should  be  the  tone.  This  is  accomplished  in  two  ways, 
by  adding  either  white  or  black  tcf  the  color  to  make  it  lighter 
or  darker,  as  circumstances  demand,  or  by  graying  the  color 
by  adding  to  it  a small  amount  of  its  complementary  color. 
Orange  added  to  blue  will  make  a gray-blue.  Green  added  to 
red  will  produce  a grayer  tone,  etc.  Refer  to  page  106,  where 
a color  chart  is  shown. 


[ Pape  109  ] 


The  reader  may  say  that  his  woodwork  will  be  oak  and 
the  room  a dining-room.  The  same  plan  may  be  followed  by 
adapting  the  colors  to  the  type  of  the  furnishings.  Ivory 
enamel  is  one  of  the  very  lightest  tints  of  orange;  suppose  the 
opposite  be  chosen.  Among  the  darkest  shades  of  orange  are 
found  the  tones  of  brown  mahogany,  walnut  and  such  oak 
stains  as  cathedral  oak.  Any  one  of  these  stain  effects  is 
splendid.  When  a figured  rug  in  Chinese  blue,  for  instance,  is 
used,  there  will  be  found  soft  tones  of  old  ivory,  browns, 
grays,  so  that  upholstering  in  plain  blue  for  the  chairs  will  be 
satisfactory.  Where  a plain  blue  rug  is  used,  however,  figured 
orange  tapestry  or  velour  wall  be  most  interesting. 

Of  equal  importance  with  the  choos’ng  of  the  right  set  of 
colors  to  combine,  is  the  retaining  of  the  true  balance  in  the 
effect.  One  color  must,  of  course,  predominate. 

Balance  in  Color  Harmony 

A balanced  effect  in  color  is  secured  when  there  is  just 
enough  of  the  contrasting  tones  to  give  the  predominating 
color  a feeling  of  support.  The  amount  of  either  color  which 
may  be  used  may  be  determined  in  a comparatively  simple 
manner. 

Estimating  the  amount  of  color  in  a room  at  100  percent, 
approximately  60  per  cent  ought  to  be  on  the  side  of  the  key- 
color,  that  is,  the  true  color  and  its  related  tones,  and  40  per 
cent  on  the  side  of  the  complementary  color  and  its  related 
tints  and  shades.  In  this  connection,  space  is  not  estimated 
as  quantity,  but  the  combined  intensities  of  all  surfaces 
rendered  in  blue  tones,  for  instance,  and  the  combined 
intensities  of  all  surfaces  done  in  the  complement,  orange 
with  its  related  hues.  Now  to  explain  what  is  meant  by 
differentiating  between  intensity  of  color  as  quantity  as  com- 
pared to  the  amount  of  space  covered. 

The  Blue  Room 

Assuming  that  one  has  a quantity  of  orange  to  use,  in  a blue 
room,  represented  by  40  per  cent,  this  amount  of  orange  may 
be  used  over  a relatively  small  surface  or  may  be  reduced  to 
cover  proportionately  more  ground.  For  example:  Say  that 
a bottle  of  ink  will  brush  out  over  ten  square  feet  of  surface 
and  give  a full  intense  tone,  it  may  be  diluted  with  water  so 
that  it  will  cover  an  entire  wall ; but  the  color  will  be  much  less 
intense. 


[ Page  no  ] 


The  amount  of  any  color  one  uses  is  measured  by  the  sense 
of  feeling  of  red,  yellow  or  blue,  etc.,  the  surface  gives.  And 
so  in  decorating,  a surface  is  less  orange,  for  instance,  as  it 
becomes  lighter  tint  or  a darker  shade.  This  means,  then, 
that  dark  reddish-brown  woodwork  such  as  brown  mahogany, 
walnut  or  cathedral  oak,  will  give  the  same  feeling  of  orange 
intensity  as  a very  soft  buff.  It  is  very  simple  to  understand, 
then,  how  a room  with  blue  as  its  keynote  may  have  walls 
and  woodwork  which  really  belong  on  the  complementary 
orange  side,  that  orange,  of  course,  reduced  in  intensity  in 
proportion  to  the  space  over  which  it  is  spread.  This  is  of 
most  practical  value,  because  a poorly  lighted  room  appears 
much  brighter  with  walls  in  buff  rather  than  in  blue. 

Fortunately,  the  rules  governing  the  application  of  color 
are  flexible  enough  to  permit  of  arranging  a room  to  suit 
almost  any  legitimate  taste.  One  person  will  want  the  walls 
done  in  heavy  browns,  while  another  will  prefer  backgrounds 
of  cream  gray  or  ivory  tan,  with  the  principal  colors  more 
daintily  handled  so  that  the  finished  room  may  be  truly  said 
to  reflect  the  personality  of  him  for  whom  the  room  was 
designed. 

One  should  never  forget  the  true  function  of  the  walls  and 
ceiling  of  a room.  In  addition  to  affording  a sense  of  protec- 
tion, the  walls  serve  as  a background  for  both  the  furnishings 
and  occupants  of  the  room.  It  is  obvious,  then,  that  any 
treatment  which  makes  the  walls  so  aggressive  as  to  press  in 
upon  one,  defeats  this  purpose. 

The  best  way  to  avoid  a too  hard  appearance  in  wall  color 
is  to  use  a broken  treatment  instead  of  one  solid  color.  This  is 
responsible  for  the  wide  use  of  figured  wall-papers.  The 
effect  to  produce  something  unique  has,  however,  resulted  in 
using  large  obstrusive  patterns  which  frequently  fairly  scream 
from  the  wall.  One  wants  texture,  surely,  but  whatever  is 
used  should  never  cause  the  wall  to  “hide”  the  pictures  or 
furniture  placed  against  it;  that  would  be  camouflage,  not 
decoration.  A good  test  would  be  to  ascertain  whether  or 
not  the  wall  patterns  will  melt  into  a soft  neutral  shade  when 
viewed  from  across  the  room,  looking  with  the  eyes  half  closed. 
In  a painted  wall  treatment  one  has  an  exceptional  oppor- 
tunity to  produce  such  a broken  wall  color  by  using  several 
colors  in  combination.  Splendid  soft  blues,  tans,  etc.,  may  be 


[ Page  111  ] 


produced  in  either  the  S-W  Flat-Tone  Multi-Color  or  S-W 
System  Effects.  In  both  processes  can  be  shown  most  interest- 
ing texture  effects  which  disclose  an  infinite  variation  of  inter- 
esting pattern,  still  retaining  the  neutral  character  desired  in 
wall  colors.  Great  care  is  necessary  in  combining  such  intense 
tones  as  are  furnished  for  tinting  colors,  especially,  but  in 
the  chapters  outlining  these  processes  much  valuable  informa- 
tion is  given. 

It  is  not  possible  to  lay  down  a set  of  rules  which  will 
govern  the  placing  of  color  in  all  cases.  Color  is  so  definite 
and  so  active  a thing  and  each  color  has  so  different  an  in- 
fluence upon  us  that  what  is  true  of  the  blue-orange  scheme 
may  not  be  practical  for  our  next  consideration,  red-green. 

Red  is  the  most  aggressive  of  the  colors.  Its  rays  travel 
fastest,  giving  it  the  property  of  making  surfaces  appear 
closer  to  the  eye  than  other  colors.  Red  is  a most  exciting 
and  stimulating  color  also.  These  qualities  make  it  unsuited 
for  general  use  in  the  walls  of  the  home.  There  are  places,  of 
course,  where  red  is  most  valuable,  as  in  the  theatre  auditori- 
um, where  an  exhilarating  effect  is  desired  and  where  it  is  of 
decided  advantage  to  have  the  stage  and  the  walls  seem  closer 
than  they  are.  But  for  the  home,  red  is  restless  and  dis- 
quieting in  effect. 

The  Pink  Room 

With  pink,  one  of  the  tints  of  red,  many  charming  effects 
are  possible.  The  complement  of  red  is  green,  and  of  pink  a 
light  green,  so  in  this  case  complementary  harmony  will  prob- 
ably be  unsatisfactory,  at  least  not  as  pleasing  as  analogous 
harmony,  for  pink  and  green  are  much  prettier  colors  in 
flowers  than  in  the  permanent  decoration  of  the  room.  The 
explanation  for  this  is  not  difficult  to  find.  Every  color  is 
made  more  intense  in  tone  by  being  used  in  connection  with 
its  complement.  Pink  is  already  so  aggressive  in  tone  that 
the  average  person,  through  instinct,  always  uses  pink  by 
neutralizing  it  considerably  by  the  extensive  use  of  white. 
Green,  then,  would  really  spoil  the  effect  of  this  truly  pretty 
color,  unless  used  in  such  minute  quantities  such  as  a small 
case  or  plant,  when  naturally  it  would  not  be  important  enough 
to  create  a feeling  of  general  complementary  harmony  for  the 
entire  room. 


I Page  112  ] 


Analogous  harmony  gives  us  pink,  red  orange  and  red 
violet.  The  two  latter  when  grayed  by  the  addition  of  their 
respective  complements,  blue-green  and  yellow-green,  give  us 
our  tones  of  cream  gray  and  warm  gray,  which  everyone  knows 
are  admirable  to  use  with  pink  and  rose. 

With  the  pink  wall  either  white  or  ivory-white  enamel 
woodwork  is  ideal.  Rose,  a darker  shade  of  pink,  has  been 
used  effectively  in  certain  types  of  living-rooms  where  there 
is  considerable  woodwork  stained  in  silver  gray.  The  rugs 
may  be  gray  and  rose  and  the  curtains  white  marquisette. 
Figured  cretonne  overdrapes,  introducing  gray  and  rose,  will 
complete  the  scheme. 

Inasmuch  as  it  does  not  require  a great  amount  of  color  to 
give  the  feeling  of  a pink  room,  there  will  be  many  who  will 
prefer  the  daintier  treatment  secured  by  using  a delicate 
warm  gray  for  the  wall  color,  introducing  pink  in  the  fur- 
nishings; white  net  curtains,  pink  or  rose  overdrapes,  ivory 
enamel  furniture,  stripes  with  pink  and  gray,  and  rose  in  the 
rugs. 

The  Green  Room 

The  reverse  of  the  scheme  just  considered,  the  green-red 
room,  presents  no  such  difficulties  in  obtaining  a pleasing  color 
balance.  Green  is  known  as  a static  color  and  does  not  ma- 
terially affect  the  apparent  position  of  the  surface.  Green,  as 
generally  supplied  for  decorative  purposes,  is  a very  restful 
color.  The  complement  red  is,  of  course,  not  required  in 
full  strength,  but  is  supplied  through  red  mahogany  woodwork 
or  walnut  and  brown  mahogany  where  the  green  used  is  grayed 
and  softened  in  tone. 

Soft  olive-green  and  blue-green  grays  are  reduced  forms  of 
the  analogous  tones  of  green  and  are  admirably  suited  for 
use  as  wall  colors.  With  the  olive  green,  represented  by  our 
wall  color  Flat-Tone  Mixture  Buff  Stone  and  Pale  Azure,  the 
woodwork  may  be  brown  mahogany,  the  curtains  buff,  with 
figures  in  blue-green  and  red-violet,  the  complementary  color, 
and  the  rug  in  a figured  pattern  with  rich  maroon  and  warm 
browns  predominating.  This  wall  color  is  very  effective  when 
handled  in  the  Multi-Color  Process,  as  purer  green  and  cream- 
gray  can  be  applied  as  an  over-pattern  most  effectively.  A 
soft  blue-green,  such  as  our  Flat-Tone  Mixture  Bright  Sage 
and  Pale  Azure,  will  produce  a room  quite  pleasingly  out  of 


[ Page  113  1 


the  ordinary.  The  woodwork  may  be  in  either  ivory-white 
enamel  or  brown  mahogany.  The  rug  will  be  effective  in 
either  a dark  blue-green,  monochromatic  harmony,  or  in  dark 
mahogany  brown,  a dark  shade  of  the  complementary  color, 
red-orange.  The  curtains  are  best  in  a creamy  buff  back- 
ground, with  orange  flowers  and  touches  of  yellow-green  and 
brown.  A dark  reddish-brown  tapestry  brick  fireplace  will 
add  the  needed  note  of  accent  in  both  these  rooms. 

The  Yellow  Room 

Yellow  is  the  third  color  for  us  to  consider.  Strange  to 
say,  yellow,  which  isour  light-producing  color, does  not  lend 
itself  readily  for  use  as  a general  wall  color  except  in  extremely 
reduced  form.  Many  a so-called  yellow  room  is  in  reality  a 
yellow-orange  room.  Ivory,  made  by  tinting  white  with 
chrome  yellow  light,  is  the  only  true  yellow  not  too  intense 
to  use.  It  is,  of  course,  only  a very  light  tint.  Tan,  a darker 
shade  of  yellow,  is  used  extensively.  This  color  is  similar  to 
our  Flat-Tone  Mixture  of  Tan  and  Silver  Gray.  Violet  is  the 
complementary  color  of  yellow.  A pleasing  yellow  room  would 
be:  Ceiling,  white;  walls,  ivory;  woodwork,  white  enamel; 
furniture,  white  or  ivory-white  enamel  striped  in  lavender,  a 
tint  of  violet;  rag  rugs  in  lavender,  white  and  black.  A brilliant 
bowl  of  Chinese  yellow,  filled  with  lavender  chrysanthemum, 
would  add  a delightful  touch.  The  large  amount  of  white 
specified  is  necessary  to  enhance  the  quality  of  yellow.  Violet, 
the  complement  of  yellow,  gives  us  a soft,  pleasing  wall  color 
when  grayed  down  considerably  by  the  addition  of  white 
and  some  yellow.  We  refer  to  the  shade  produced  by  com- 
bining S-W  Flat-Tone  Shell  l’ink  and  Silver  Gray. 

This  scheme  is  very  satisfactory:  Ceiling,  ivory-white; 
walls,  gray-lavender;  woodwork,  ivory-white  enamel;  furni- 
ture, ivory  enamel  striped  in  lavender;  curtains  in  cretonne 
with  yellow  flowers  and  black  over  a background  of  gray.  In 
the  Multi-Color  Process  ivory-gray  is  stippled  over  the  laven- 
der to  produce  a still  softer  effect. 

In  this  chapter  an  attempt  has  been  made  to  give  the  reader 
information  and  suggestions  which  can  be  put  to  practical 
use.  The  subject  of  color  and  its  relation  to  our  every  day 
life  is  worthy  of  a lifetime  study,  as  has  been  previously 
stated.  The  more  one  reads  and  studies  along  these  lines, 
however,  the  more  he  is  convinced  that  no  set  of  ironclad  rules 


[ Page  114  ] 


can  1 »e  laid  down  to  cover  every  case.  But  if,  as  someone  has 
said,  rules  are  made  only  to  he  broken,  let  us  study  these 
rules,  or  principles,  so  that  we  may  know  how  to  use  them 
with  best  results  and  so  we  may  know  when  an  exception 
may  be  made  with  good  results. 


[ Page  115  ] 


Comfortable  Li ri ng-  Boom 


Chapter  X 

Wall  and  Ceiling  Treatment 

THE  decorated  wall,  whether  it  he  in  the  hotel,  club 
or  private  residence,  must  possess  a certain  amount 
of  interest  or  the  room  will  appear  bare.  In  the  hotel, 
club  or  public  building,  this  interest  can  be  supplied  by  ar- 
chitectural treatment,  using  more  or  less  elaborate  combina- 
tions of  pilaster,  cornice  and  panel  in  ways  beyond  the  means 
of  the  home  owner  and  usually  not  appropriate  except 
in  the  larger  residence. 

Where  interest  is  not  supplied  by  architectural  form,  it  is 
necessary  to  provide  it  through  texture  and  applied  decora- 
tion. In  wall-paper,  for  instance,  one  finds  all  degrees  of 
texture,  ranging  from  pleasing  oatmeal  papers  to  the  most 
violent  patterns  imaginable.  It  is  this  demand  for  interest 
and  pattern  that  has  militated,  in  many  cases,  against  the 
painted  wall.  This  is  possible  only  because  many  people  are 
not  familiar  with  the  wonderful  effects  in  texture  the  painted 
wall  will  give  when  treated  intelligently. 

The  eye  is  readily  satisfied  with  texture  indicated  by  pleas- 
ing contrast  in  light  and  dark  color  and  does  not  demand  actu- 
al, tangible  texture  as  in  fabrics.  Thus  a wall  may  be  covered 
with  a smooth  paint  film  which  can  be  easily  washed  and  yet 
have  a most  pleasing  visible  texture. 

In  considering  the  degree  of  interest  the  walls  of  a room 
should  show,  it  is  first  necessary  to  decide,  is  this  a living- 
room  where  the  walls  function  as  a background,  or  are  the 
walls  to  be  a special  feature  of  interest  as  in  a formal  reception 
room,  parlor  or  theatre?  In  the  theatre  or  ballroom  the  expanse 
of  wall  in  so  large  a room  frequently  calls  for  the  greatest  in- 
genuity in  the  combining  of  architectural  treatment  and  the 
use  of  wall  texture  and  applied  decoration.  The  size  of  the 
room  decides  also  how  fine  or  coarse  may  be  the  effect  of  wall 
texture.  The  small  room  appears  still  smaller  with  large 
obtrusive  figures  leaping  out  upon  one  from  every  wall, 


[ Paee  117  ] 


while  a large  room  appears  larger  and  plainer  if  the  texture 
applied  to  the  wall  is  too  fine  or  close.  Where  furniture  is  to 
lie  placed  directly  against  the  wall,  however,  there  should  be  no 
figuration  on  the  wall  that  would  destroy  the  outline  or  bal- 
ance of  the  furniture. 


Shenein-W  ill  in  ms  Flat-Tone  Glazing  System 


Flat- l one  (dazing  System  is  a method  of  wall  treatment 
developed  by  The  Sherwin-Williams  Company,  which  affords 
most  pleasing  and  interesting  effects  for  wall  and  ceiling 
decoration.  The  color  plates  on  pages  74  and  78  show  the 
possibilities  of  this  treatment.  Flat-Tone  Glazing  System 
Effects  consist,  briefly,  of  a coat  of  Flat-Tone  Glazing  Liquid 
applied  to  the  wall  over  a foundation  of  S-W  Flat-Tone. 
This  coat  may  consist  of  (dazing  Liquid  tinted  in  one,  two  or 
more  colors.  When  a one-color  glaze  is  used,  this  color  may 
be  blended  off  from  dark  at  the  floor  to  the  merest  suggestion 
of  a tint  at  the  ceiling,  or  worked  out  in  a uniform  tint  over 
the  entire  wall.  The  blended  treatment  is  very  effective,  too, 
in  panel  treatment. 


Glazing  Liquid  is  to  be  tinted  for  this  work  with  Flat- 
Tone  Glaze  and  Stencil  Colors.  These  are  oil  colors  supplied 

in  tubes  and  are  especially 
suitable  for  this  work  be- 
cause of  their  clearness  and 
brilliancy  of  tone  and  also 
because  of  their  transparency. 
Any  tendency  in  the  Glaze 
Color  to  become  cloudy  or 
muddy  would  mar  the  beauty 
of  this  process.  Because  of 
this  rather  transparent  qual- 
ity of  the  glaze  coat,  the  tone 
of  the  underbody  color  of 
Flat-Tone  shows  through  to 
a considerable  extent,  producing  a rich,  luminous  depth  of 
color,  truly  beautiful.  Texture,  in  Flat-Tone  Glazing  System 
Effects,  is  produced  by  stippling  the  glaze  coat  with  a 
crumpled  cloth  held  loosely  in  the  hand.  This  stippling 
must  be  done  as  the  glaze  coat  is  applied,  or  before  the  glaze 


Tinting  the  Glazing  Liquid  with  Glaze  an** 
Stencil  Color.  The  color  is  broken  up  in  the 
liquid  with  the  brush 


\ Page  118  ] 


Apply  the  Glaze  Color  Mixture  to  Ihe 
wall  in  generous  quant  Hies 


“sets  u])."  This  “setting  up”  may  he  delayed  and  the  work 

of  stippling  facilitated  by  coating 
Ihe  wall  with  dear  Glazing  Liquid 
immediately  before  applying  the 
tinted  Glazing  Liquid.  The  tinted 
liquid  should  be  brushed  on  in 
generous  quantities  also. 

Note — Flat-Tone  is  a washable 
flat  oil  paint  manufactured  by  the 
Sherwin-Williams  Company  for  ar- 
tistic wall  and  ceiling  decoration. 

A piece  of  old  soft  gingham  is  the 
ideal  cloth  to  use.  Cheesecloth, 
frequently  recommended,  is  notdesir- 
able.  Experimenting  alone  will  teach 
the  beginner  the  best  way  to  crumple 
and  hold  the  cloth  in  the  hand.  A 
smooth  pad  will  give  a very  fine  tex- 
ture and  is  usually  not  desired. 

Wrinkling  the  cloth  will  roughen  the 
texture,  and  by  exerting  a twisting 
and  lifting  motion  with  the  wrist 
most  beautiful  scrolls  may  be  pro- 
duced. This  scroll  texture  may  be 
made  as  rough  as  desired.  By  twist- 
ing the  hand  without  any  side  motion 
of  the  arm,  the  scroll  will  resemble 
flowers,  while  a sweeping  movement 

will  produce  a more  branching  effect. 


Producing  the  texture  in  nut 1 1 
color  by  stippling  with 
a crumpled  cloth 


Intensity  of  Color 
Tint  the  Glazing  Liquid  to  ap- 
proximately the  depth  of  color  of  the 
effect  desired.  In  other  words,  do 
not  make  the  color  darker  than  the 
finished  effect  is  to  be,  with  the  inten- 
tion of  stippling  most  of  the  color  off 
to  lighten  the  effect.  This  will 
destroy  the  beauty  of  texture  and 
also  not  leave  enough  of  a glaze 
film  to  make  a practical  wall. 
Where  an  effect  requires  more  than  one  color,  tint  the  several 

T Pape  119  1 


Medium  scrolls  give  pleas- 
ing walls 


batches  of  Glazing  Liquid  to  the  same  relative  strength  of 
tone.  Then  if  the  room  is  to  have  a browner  or  bluer  tone, 
for  instance,  apply  the  desired  color  over  larger  spaces  of 
wall.  The  two  (or  more)  colors  are  to  be  applied  simultaneous- 
ly to  the  wall  in  adjoining  patches.  Run  the  colors  together 
somewhat  and  blend  them  so  that  one  color  will  go  into  the 
other  softly,  otherwise  the  wall  will  appear  spotty.  This 
blending  is  to  be  done  with  the  brush  before  stippling  with  the 
cloth.  On  rough  plaster  especially  it  is  difficult  to  “move” 
or  blend  the  color  except  with  the  brush. 

Changing  the  stippling  cloth  when  the  wall  is  in  one  color 
is  not  essential  except  as  the  cloth  becomes  too  wet  to  use. 
When  two  or  more  colors  are  being  stippled,  it  is  advisable 
to  stipple  all  the  spots  of  one  color,  change  the  cloth  to  a clean 
surface  and  stipple  the  next  color,  and  then  go  over  those 
portions  where  the  colors  are  blended  together.  Observing 
this  practice  closely  will  keep  the  effect  clean  and  prevent  a 
muddied  appearance. 

To  Blend  a Wall  Color 

It  is  possible  but  not  advisable  to  try  to  blend  a wall  in 
any  but  a one-color  effect,  l int  the  Glazing  Liquid  to  the 

depth  of  tone  desired  for  the  lower 
wall.  Pour  off  about  one-third  of  this 
mixture  and  add  to  it  an  equal 
amount  of  clear  Glazing  Liquid.  Size 
the  wall  with  a coat  of  clear  Glazing 
Liquid  as  mentioned  previously  and 
then  apply  the  lighter  mixture,  start- 
ing at  the  ceiling  angle  and  bringing 
the  color  down  to  about  three  or  four 
feet  from  the  floor.  Brush  on  the 
darker  mixture,  carrying  the  color 

a blended  wall  without  the  hard  "'ell  up  into  the  lighter  tone.  Blend 
line  between  light  and  dark  the  color  by  brushing  back  and  forth. 

Start  the  stippling  at  the  ceiling  and  work  down  into  the 
darker  color.  In  this  .manner  one  can  avoid  the  appearance  of 
the  “high  water”  mark  or  break  in  the  two  tones. 

Plain  Color  Flat-Tone  W alls 

Sherwin-Williams  Flat-Tone  produces  equally  satisfactory 
results  on  either  rough  or  smooth  plaster  or  many  of  the 


I Page  120  ] 


excellent  wall  boards  on  the  market.  Flat-Tone  dries  with  a 
finish  which  is  soft  and  velvety  in  appearance  and  leaves 
little  to  be  desired  where  a simple  soft  tone  is  wanted.  There 
are  many  rooms  in  which  anything  but  a most  simple  treat- 
ment of  this  type  would  be  very  much  out  of  place.  In  a 
bank  lobby,  in  a formal  parlor  or  reception  room,  the  architect 
frequently  makes  use  of  a paneled  wall.  In  a large  building 
the  panel  may  be  either  recessed  slightly  or  may  be  set  off  by 
the  use  of  a low  relief  moulding.  Adam  style  has  many 
excellent  examples  of  this.  In  such  a wall  it  is  difficult  to  imag- 
ine anything  but  a simple  color  of  Flat-Tone.  In  almost  any 
other  type  of  wall  there  is  considerable  advantage  to  be  gained 
through  the  introduction  of  texture  by  the  use  of  the  Flat- 
Tone  Multi-Color  Stipple  Process,  explained  below'.  The 
rooms  of  the  modern  home  offer  an  exceptional  opport unity 
to  use  stippled  wall  colors. 

Flat-Tone  Multi-Color  Stipple  Effects 
The  Sherwin-Williams  Multi-Color  Stipple  Process  is 
carried  out  entirely  through  the  use  of  the  regular  colors  of 
Flat-Tone,  which  can  be  combined  effectively  and  for  which 
we  have  prepared  careful  schedules.  A foundation  color  is 
required,  over  which  is  printed  a lacew'ork  pattern,  produced 
by  printing  the  stipple  color  on  to  the  wall  with  a sponge. 

Preparation  of  the  Sponge 

The  sponge  is  used  very  much  in  the  manner  of  a rubber 
stamp  and,  like  a stamp,  will  print  w'hatever  its  printing 

surface  or  texture  happens  to  be. 
W e have  found  the  deep  sea  wool 
sponges  most  suitable  for  Multi- 
Color  Stipple  work.  They  seem  to 
have  the  best  texture  and  are  tougher 
and  wear  longer  than  the  more 
common  variety  of  grass  sponge. 

The  bottom  of  the  sponge  is  the 
surface  to  use  for  stippling.  It  should 
be  trimmed  by  slicing  off  with  a 
knife.  To  do  this  wash  the  sponge 
out  carefully  and  allow  it  to  dry 
hard.  It  can  be  cut  very  easily  with 
a large  knife.  When  being  used  for  stippling,  the  sponge 
should  be  wrung  out  of  water  and  be  damp. 

\ Pape  121  1 


A qood  tvpe  of  sponge  to  use 


A Colorful  Dinimi-  Hoorn  „„ 


Colors  Required  for  Stippling 

The  colors  regularly  shown  in  the  Flat-Tone  color  card 
will  produce  all  the  specified  Multi-Color  Effects.  Some  of 
these  specifications,  however,  call  for  mixtures  of  these  regular 
colors.  Certain  specifications  call  for  two  parts  of  one  color 

and  one  part  of  another  color.  These 
measurements  should  be  carefully 
carried  out.  Use  a small  cup  as  a 
measuring  unit.  Much  of  the  beauty 
of  these  stippled  wall  colors  depends 
upon  the  proper  degree  of  contrast 
between  the  foundation  and  stipple 
colors.  In  a large  room,  where  the 
eye  is  normally  at  some  distance  from 
the  wall,  the  stipple  may  be  in  a more 
contrasting  color.  Take  the  audi- 
torium, for  instance,  the  ball  room 
or  store.  In  a room  not  brightly 
lighted,  this  contrast  may  be  more  noticeable  too.  Here 
is  an  example:  Multi-Color  Stipple  Effect  number  twenty- 
five  has  for  its  foundation  color  Flat- 
Tone  Silver  Gray.  Over  this  is 
stippled  a mixture  of  Flat-Tone 
Silver  Gray  and  Ivory,  equal  parts. 

Ivory  being  the  lighter  color,  will 
make  the  stipple  color  lighter  as  the 
proportion  of  Ivory  to  Silver  Gray  is 
increased.  Two  parts  Ivory  to  one 
part  of  Silver  Gray  would,  therefore, 
produce  a much  more  contrasted  effect 
when  stippled  over  Silver  Gray  than 
the  regular  specification.  With  but 
few  exceptions,  however,  our  regular 
specifications  will  be  found  to  be  most  satisfactory. 

Most  of  the  Multi-Color  specifications  call  for  the  addition 
of  one-fourth  part  Flat-Tone  Mixing  Size  to  the  stipple 
color.  This  varnish  size  causes  the  stipple*  color  to  dry  in  a 
slightly  more  transparent  color,  so  that  the  general  tone  of 
the  wall  is  softer.  Where  the  effect  is  desired  to  be  as  crisp  as 
possible,  the  size  may  be  omitted  and  turpentine  substituted 
to  thin  the  Flat-Tone  slightly. 


I Page  123  ] 


hired  ions  for  Applying  Hie  Stipple  Effeds 
The  foundation  color  must  first  he  carefully  brushed  on. 
Over  new  walls  this  foundation  requires  that  the  first  coat 
should  consist  of  equal  parts  Flat-Tone,  in  the  color  specified, 
and  Flat-Tone  Mixing  Size.  This  is  the  proportion  of  size 
required  for  rough  or  sand-finish  plaster.  Hard,  smooth 
plaster  requires  about  one-fourth  to  one-third  part  Mixing 
Size.  Allow  the  first  coat  to  dry  twenty-four  hours  before 
the  second  coat  is  applied,  as  the  paint  comes  in  the  can. 
Frequently  two  coats  will  be  found  to  be  sufficient.  Apply  a 
third  coat  if  necessary  to  obtain  a good  solid  covering.  Pre- 
pare the  stipple  color  as  directed  for  the  effect  specified.  The 
stipple  coat  may  be  applied  the  same  day  as  the  second  coat 
of  the  foundation  color,  if  convenient. 

Amount  of  Stipple  Color  Required 
In  a home  the  average  room  of  about  twelve  by  twenty  feet 
will  require  about  one  quart  of  each  stipple  color  specified. 
Note:  If  the  color  mixture  Silver  Gray  and  Cream  is  specified, 
for  instance,  one  quart  of  the  mixture  is  meant,  i.  e.,  one  pint 
of  each  color  poured  together  and  stirred. 

Pour  some  of  the  stipple  color  out  on  a board,  cardboard 
or  tin,  and  rub  the  bottom  of  the  dampened  sponge  into  this. 
See  that  the  bottom  of  the  sponge  is  thoroughly  covered. 

Tap  the  sponge  on  to  a dry  paper  until  the  sponge  appears 
merely  moist.  It  is  then  ready  to  stipple  on  to  the  wall. 
Having  too  much  paint  in  the  sponge  will  make  a dauby 
print,  while  using  the  sponge  too  dry  will  produce  an  uneven 
print  and  one  that  is  too  light. 

Where  two  or  more  stipple  colors  are  specified,  stipple  the 
first  color  over  the  entire  wall.  Clean  out  the  sponge  and 
stipple  the  second  color  directly  over  the  first. 

To  Clean  the  Sponge 

Wash  the  sponge  out  in  gasoline  and  leave  submerged 
in  a pail  of  water  if  the  sponge  is  to  be  used  again  the  next 
day.  Otherwise  it  is  advisable  to  wash  it  thoroughly  with 
Flaxoap  or  good  laundry  soap  to  prevent  the  sponge  harden- 
ing. It  can  then  be  put  away  for  future  use  or  be  used  for 
any  general  household  purpose.  When  cleaning  out  the  sponge 
to  use  in  some  other  stippling  color,  wash  out  in  gasoline, 
rinse  in  water  to  open  up  the  sponge  and  proceed  as  before. 


| Page  124  1 


Chapter  XI 

Stencils 

EVERY  decorated  room  should  have  some  focal  point 
of  interest,  some  object,  surface,  design  in  which  the 
principal  colors  of  the  room  are  gathered  together, 
as  it  were,  in  purer  and  brighter  tones  than  is  possible  in  the 
general  wall  color.  In  the  average  room,  which  has  relatively 
simple  woodwork,  baseboard  and  moulding,  this  interest  is 
best  supplied  in  the  stencil  border  pattern. 

In  a room  whose  walls  are  divided  in  panel  treatment  the 
interest  is  supplied  by  the  panel  with  the  possible  placing 
of  a medallion  design  in  each  panel. 

When  the  architectural  treatment  includes  beamed  ceil- 
ing and  a heavy  cornice,  a stencil  border  is  often  not  needed. 
In  cases,  however,  where  there  is  too  great  a contrast  between 
the  wall  color  and  the  color  of  the  cornice  and  beams,  as  for 
instance,  cream  walls  and  cathedral  oak  woodwork,  the 


I Patre  125  j 


.stencil  is  really  necessary  to  break  the  hard  line  and  form  a 
bridge  between  the  light  color  and  the  dark.  Where  the  wall 
color  is  complex,  i.  e.,  a stippled  or  mottled  effect,  and  contains 
the  tones  of  the  woodwork  color,  the  stencil  need  not  be  so 
conspicuous. 

1 lie  stencil  border  keeps  the  center  of  interest  well  up  in 
the  room,  good  practice  especially  where  one  doesn't  want 
the  furniture  and  rugs  too  prominent  (see  page  .50).  Simple 
walls,  especially  in  plain  colors,  give  a feeling  of  a higher 
ceiling  because  the  interest  drops  down  to  chairs,  tables  and 
rugs.  Where  a spacious  feeling  is  desirable  as  in  the  formal 
par  lor,  small  room  or  display  room,  the  stencil  border  should 
not  be  made  too  prominent  or  the  colors  in  too  high  a key. 

The  s teneil  border  should  not  be  confused  with  the  free- 
hand design.  Each  has  its  own  particular  advantage  and 
either  one  loses  as  it  attempts  to  imitate  the  other.  The 
stencilized  design  must  have  come  from  the  hands  of  the 
artist  who  has  taken  his  motif  from  some  nature  form,  some 
geometrical  or  fantasy  form,  conventionalizing  or  treating 
it  to  bring  it  to  the  form  and  style  of  the  decoration.  Stencil 
designs  which  aim  at  a too  naturalistic  effect  are  not  true 
to  their  type  and  are  but  poor  imitations  of  the  freehand 
mural  painter’s  art. 

11  all  Stencils  Their  Use  and  Application 

The  stencil  has  a technique  all  its  own.  A stenciled 
design  is  recognized  by  the  fact  that  the  pattern  is  usually 
made  up  of  numerous  spots  of  various  forms  separated  from 
their  adjoining  parts  of  the  design  by  fairly  uniform  unpainted 
spaces.  This  is  due  to  the  fact  that  in  cutting  the  design, the 
different  parts  of  the  sheet  have  to  beheld  together  by  ties 
or  narrow  strips  of  uncut  paper  so  that  the  sheet  will  not  fall 
to  pieces. 

The  clever  designer  makes  intelligent  use  of  this  seeming 
limitation  and  produces  patterns  in  which  the  stencil  tech- 
nique plays  an  important  part.  He  conventionalizes  the 
picture  or  drawing  of  a flower,  bird,  or  other  object,  so  that 
while  one  knows  that  a picture  of  the  object  is  no  longer 
intended,  the  design  ( if  a good  one)  becomes  interesting  because 
of  itself  and  the  agreeable  way  in  which  colors  and  pleasing 
forms  have  been  assembled.  In  the  truly  successful  stencil 


I Pace  126  1 


design,  the  ties  holding  t he  different  parts  together  form  an 
important  part  of  the  interest  of  the  pattern.  One  cannot 
paint  a portrait  with  a stencil  of  any  object  such  as  a man,  a 
flower  or  a bird.  But  it  is  possible  to  give  a rendition  of  any 
one  of  these,  which  if  used  in  a decorative  way,  will  be  very 
charming. 

The  stencil  as  used  in  wall  decoration  should  not  be  con- 
fused with  the  art  of  the  mural  painter.  This  artist  works 
out  his  landscapes,  figures,  flowers,  etc.,  through  freehand 
sketching,  although  frequently  making  legitimate  use  of 
pounce  patterns  to  furnish  the  rough  proportions  and  draw- 
ing of  the  figure  work.  1 1 is  work  results  in  either  a more 
or  less  naturalistic  or  a fantasy  form  of  the  subject.  Of 
course  many  of  these  artists  use  block  stencil  designs,  work- 
ing them  over  by  hand  with  a rather  naturalistic  effect,  in 
which  case  the  stencil  serves  only  as  a guide  to  furnish  the 
drawing  and  ceases  to  be  a stencil  design  as  it  is  worked  over. 

In  rendering  flowers  and  other  objects,  the  mural  painter 
does  not  limit  himself  strictly  to  nature’s  own  colors.  lie  sees 
nothing  amiss  in  painting  blue  roses,  red  tree  trunks,  an 
ultramarine  blue  sky,  deep  lavender  shadows,  providing  he 
can  achieve  a certain  result  he  has  pictured  in  his  mind’s  eye. 
Of  course  any  mural  decoration  in  which  these  color  effects 
are  used,  verges  upon  fantasy,  or  may  even  be  entirely  the 
creation  of  the  artist’s  fertile  imagination.  But,  rightly  con- 
ceived and  executed,  this  is  a true  decorative  art.  While  it 
is  true  that  the  stencil  design  may  be  made  to  approach  the 
work  just  described  through  handwork,  such  effects  lose 
their  stencil  technique  in  proportion  as  they  do  take  on  the 
other  character. 

From  what  has  just  been  stated,  it  must  not  be  assumed 
that  no  freehand  work  is  of  advantage  in  the  true  stencil 
design.  Quite  the  contrary.  That  handwork,  however, 
must  only  enrich  the  design  and  not  attempt  to  modify 
it  into  a too  naturalistic  effect.  There  are  many  touches 
which  may  be  given  that  will  improve  the  pattern  many 
times  over.  One  may  wipe  out  certain  spots  to  produce  a 
“highlight,”  or  shadow,  and  in  other  places  brighter  color 
may  be  applied  for  emphasis.  But  the  finished  effect  must 
have  the  appearance  of  applied  design  and  not  of  oil  paint- 
ings of  flowers,  etc.,  draped  along  the  wall. 


[ Page  127  ] 


A Dainty  Bedroom  in  Ivory  Tan  and  Blue  Specifications  on  page  I'i'i 


Stencils  are  divided  into  two  types:  the  block  stencil  and 
the  outline  stencil. 


The  Block  Stencil 


The  block  stencil  gives  a complete  pattern  when  applied. 
This  type  of  stencil  is  usually  furnished  in  as  many  parts  as 

the  finished  pattern  shows  colors, 
each  part  providing  openings  for 
a certain  color.  For  convenience 
in  handling,  two  colors  are  fre- 
quently applied  from  one  stencil 
where  the  openings  are  separated 
far  enough  to  be  brushed  easily 
without  blurring  into  the  other 
color.  In  the  stencil  pattern  call- 
ing for  two  or  more  parts,  guide 
marks  are  provided  so  the  flowers 
register  correctly  with  leaves,  etc. 


Applying  Ihe  second  color  with  the 
second  port.  The  first  part 
is  already  on 


There  are  some  very  simple  designs  which  look  best  when 
left  just  as  they  are  when  stenciled  on,  such  as  Roman  key 
designs,  or  other  small  one  and  two-color  patterns  which 
would  look  fussy  if  worked  over  too  much.  The  person  ap- 
plying the  stencil  should  use  careful  judgment  as  to  whether 
the  circumstances  really  demand  special  treatment  of  the 
stencil  design. 


Shading  With  the  Brush 

The  amount  of  paint  required  to  apply  a stencil  is  rela- 
tively small,  so  that  a person  can  conveniently  carry  several 
colors  on  a board  or  pallette  while  working.  When  stenciling 
out  a flower,  for  example,  apply  the  flat  color  first,  which  is 
the  principal  color  of  the  flower.  This  will  frequently  be  white 
tinted  with  the  required  stencil  color.  With  a brush  apply 
a darker  shade  (or  a lighter  tint  according  to  the  appearance 
of  the  flower  in  nature)  by  brushing  lightly  with  a rotary  motion 
over  the  center  of  the  flower.  This  same  principle  may  be  ap- 
plied to  the  leaves  in  certain  cases.  This  blending  should  not 
be  overdone,  however,  or  the  border  will  look  too  spotty. 

Block  stencils  may  be  applied  in  two  ways,  with  opaque 
color  or  transparent  color;  both  have  their  place.  Any  trans- 
parent color  becomes  opaque  as  soon  as  white  or  some  of 


f Page  129  ] 


the  wall  color  is  added.  Opaque  colors  are,  of  course,  neces- 
sary where  the  design  is  to  he  lighter  than  the  background. 
Opaque  colors  always  appear  softer  and  more  pleasing  when 

they  are  thinned  with 
Glazing  Liquid  in  pre- 
ference to  turpentine, 
as  they  dry  with  a 
slight  sheen  and  have 
a greater  depth  of 
color,  whereas  tur- 
pentine frequently 
causes  the  colors  to 
dry  “chalky.” 

By  transparent 
colors  we  mean  our 
regular  stencil  colors 
thinned  to  thedesired  intensity  with  Flat-Tone  Glazing  Liquid. 
Transparent  colors  are  always  specified  for  use  over 
a glazed  wall  in  Flat-Tone  System  Effect  and  for  filling  in 
outline  stencils.  In  using  transparent  colors  the  result 
achieved  is  a soft,  tinted  effect,  except  where  the  colors  are 
used  in  too  full  strength,  which  permits  the  texture  and  color 
of  the  wall  to  show  through  somewhat. 

As  these  colors  are  fairly  thin  in  consistency,  the  brush 
should  be  used  fairly  dry.  Too  much  color  in  the  brush  will 
cause  the  paint  to  run  under  the  edges  of  the  stencil  and  blur 
the  design.  A little  more  care  is  necessary  in  using  trans- 
parent colors  so  that  each  repeat  will  be  just  as  dark  as  its 
neighbors. 

If  good  judgment  is  used  excellent  results  may  be  obtained 
by  varying  the  color  (not  depth  of  color)  of  the  leaves  and 
flowers  of  the  stencil  design  as  it  progresses  around  the  room. 
The  colors  used  to  make  the  roses  redder,  more  orange, 
grayer,  brighter,  etc.,  must  be  added  gradually  and  the 
variation  must  be  kept  within  certain  limitations.  Through 
this  expedient,  however,  greater  individuality  is  obtainable 
and  any  resemblance  to  more  conventional  wall-paper  border 
effects  avoided.  In  producing  this  variation  always  keep  in 
mind  the  colors  of  the  rugs,  drapes,  etc. 


** * ** . 

a* 


Stencil  No.  7054. 

The  block  stencil  applied  simply 

in  two  colors 

•/  , * ’ vrj 

*_*■  m 

This  same  stencil  showing  flower  and  leaves  shaded 


\ Page  130  ] 


1 Good  Precaution 


Lay  the  stencil  face  down  on  a newspaper,  after  applying 
each  length  or  two  of  the  design,  and  wipe  off  the  back  with 
a soft  cloth.  Be  careful  so  that  the  cloth  does  not  catch  and 
tear  the  stencil. 


How  Strong  to  Make  the  Stencil  Color 

Let  the  stencil  be  seen  and  not  heard!  Do  not  under  any 
consideration  make  the  stencil  so  strong  in  color  or  so  large 
in  size  that  it  becomes  the  first  and  only  thing  one  can  see  in 
a room.  If  the  stencil  is  in  good  color  with  the  wall,  each 
will  help  the  other  and  the  stencil  will  give  character  to  the 
room.  The  colors  should  not  impress  one  as  too  noticeable, 
hard  or  aggressive  in  comparison  with  the  other  furnishings 
of  the  room. 

If  the  stencil  design  selected  seems  to  be  somewhat  too 
wide  for  the  size  of  the  room,  this  defect  may  be  made  less 
obvious  by  keeping  the  colors  in  tones  which  do  not  stand 
out  too  sharply  from  the  wall.  In  garland  stencils  or  in 
designs  which  divide  themselves  in  upper  and  lower  parts, 
the  upper  part  should  be  made  stronger  and  the  lower  part 
softer  in  tone.  The  effect  then  will  be  of  a much  narrower 
border. 

The  border  which  is  too  narrow  cannot  be  helped  by  the 
reverse  treatment,  however,  as  to  render  it  in  stronger  colors 
would  result  in  its  appearing  conspicuously  small  and  pinched. 
The  stencil  commonly  known  as  the  binder  stencil,  fills  a 
somewhat  different  purpose.  It  is  usually  used  in  place  of  a 
moulding,  to  frame  a wall  panel  or  cover  the  breaks  in  the 
wall  colors,  as  between  the  upper  wall  and  the  dado.  In  these 
cases,  the  stencil  is  applied  in  heavier  or  stronger  colors  with 
proper  effect. 

The  Outline  Stencil 

The  outline  stencil  gives  one  the  outline,  only,  of  the 
design  so  that  the  filling  in  of  leaves,  flowers,  etc.,  is  done 
by  hand.  This  type  of  stencil  permits  of  the  very  highest 
quality  in  effect.  The  outline  stencil  is  generally  to  be  pre- 
ferred for  walls  finished  in  a glazed,  blended  or  mottled  wall 
finished  in  the  Flat-Tone  System  Effects.  It  is  not  so  practical 


[ Pane  131  ] 


— 


4 Colonial  Bedroom 


to  use  over  a plain  color,  that  is,  a wall  not  glazed  or  stippled. 

The  outline  is  to  be  applied  in  a 
color  darker  than  the  wall  so 
that  it  will  still  show  after  the 
fill-in  colors  have  been  applied. 
This  should  be  allowed  to  dry 
hard  before  filling  in  the  other 
colors.  As  a rule,  use  one  of  the 
colors  in  which  the  wall  has  been 
glazed,  grayed  or  neutralized,  thin- 
ning as  necessary  with  Glazing 
Liquid.  For  the  filling  in,  have 
several  soft  brushes  of  varying 

Applying  the  Outline  Stencil  • 1,1  p • j_i  • 1 

widths  tor  convenience,  the  wide 
brush  for  the  larger  spots,  and  the  narrow  ones  for  the 
stems  and  smaller  spots.  Fill  in  the  spots  of  one  color 
first,  stippling  the  surface  lightly  with  a cloth  to  take 
off  the  surplus  color  and  remove  brush  marks.  Use  or- 
dinary care  not  to  brush  or  rub 
the  color  over  the  outline  so  as 
to  smear  up  the  background.  This 
filling  in  should  move  along  well 
and  not  require  too  much  time. 


Filling  in  the  Outline 


After  the  color  has  set  for 
about  an  hour  (more  or  less  accord- 
ing to  the  rapidity  of  the  drying) 
certain  spots  can  be  picked  out 
by  wiping  with  a cloth  over  the 
finger,  so  as  to  produce  the  high  lights.  Shadows  can  be 
used  very  effectively  with  outline  stencils.  As  a rule, 

these  should  be  brushed  on  in  a 
uniform  width  under  the  lower 
right  hand  edge  of  each  leaf  or 
flower  stem.  They  should  be 
stippled  slightly  as  applied  and 
should  not  be  too  dark.  The 
effect  produced  should  be  that  of 
light  coming  from  a certain  direc- 
tion and  will  be  found  to  give  a 
greater  depth  of  color  and  the  pat- 
tern stands  out  in  relief. 


Picking  out  the  high  lights 


[ Page  133  ] 


Correct  Use  of  the  Stencil 

The  stencil  should  be  held  flat  against  the  surface  to  be 
decorated.  If  necessary,  a few  thumb-tacks  can  be  used  to 
prevent  the  stencil  slipping.  These  will  not  injure  the  wall. 

Apply  the  colors  through  the 
openings  of  the  stencil  to  the 
exposed  surface  with  a rotary, 
scrubbing  motion,  making  the 
stencil  brush  help  hold  down  the 
stencil  while  it  is  applying  the 
color.  A small  stencil  may 
be  held  in  position  with  one 
hand  while  brushing  with  the 
other.  (Illustration  page  129). 
Use  a regular  stencil  brush.  It 
should  be  clean  and  in  good 
order.  See  page  25  on  the  care  of  brushes.  A short  bristle 
brush  is  best,  as  the  color  can  be  rubbed  into  the  surface  to 
be  decorated  without  danger  of  the  bristles  spreading  and 
working  under  the  edge  of  the  stencil.  Stencil  brushes  may 
be  had  in  various  sizes.  A brush  an  inch-and-a-half  in  diameter 
is  best  for  general  work.  A half-inch  brush  is  best,  however, 
for  blending  work  in  a design  the  size  of  the  one  shown  in 
illustration  on  page  130. 


Hold  the  brush  up  straight  against 
the  stencil 


Stencil  Paint  and  its  Preparation 

Sherwin-Williams  Flat-Tone  Glaze  and  Stencil  Colors  are 
made  for  all  stencil  work  over  a wall  decorated  in  Flat-Tone 
or  an  oil  paint.  Sherwin-Williams  Distemper  Fresco  Colors 
or  S-W  Decotint  are  furnished  for  surfaces  finished  in  water- 
mixed  paints. 

Sherwin-Williams  Glaze  and  Stencil  Colors  have  great 
tinting  power,  being  made  up  in  the  full  strength  of  the 
various  colors,  for  example;  S-W  Glaze  and  Stencil  Color 
Emerald  Green  gives  a rich,  full  emerald  hue,  not  a weak, 
light  or  grayed  color.  A tube  of  these  colors,  then,  goes  a 
long  way,  very  little  paint  being  necessary  to  tint  white, 
which  is  often  used  as  the  base  for  stencil  colors. 

This  economy,  together  with  their  permanency,  makes  the 
stencil  colors  desirable  for  all  types  of  art  work. 


[ Page  134  ] 


To  Reduce  Strength  of  Color 

The  stencil  colors,  as  they  come  from  the  tube,  are  fre- 
quently too  dark  and  intense  to  use.  Reduction  to  secure  a 
lighter  tint  is  therefore  necessary.  This  may  be  accomplished 
by  one  of  these  two  methods:  (1)  Thin  with  S-W  Glazing 
Liquid.  (2)  Add  Stencil  White  and  thin  to  brushing  con- 
sistency with  Glazing  Liquid.  Turpentine,  which  is  a satis- 
factory thinner  for  most  paint,  evaporates  too  quickly  for 
stencil  work,  causing  the  paint  to  pile  up  on  the  pattern  so 
that  the  stencil  is  liable  to  break  when  cleaning.  Glazing 
Liquid  helps  avoid  this,  and  in  addition  does  not  cause  the 
stencil  to  dry  too  dead  as  turpentine  will  do,  or  too  glossy  as 
when  oil  is  used  for  thinning. 

The  addition  of  white  causes  the  Glaze  and  Stencil  Colors 
to  become  opaque,  but  is  necessary  when  the  stencil  color  is 
to  be  lighter  than  the  background. 

How  Thick  or  Heavy  to  Have  the  Paint 

If  the  paint  is  too  heavy  to  brush  on  easily,  the  result 
will  appear  spotty  and  will  be  hard  to  work. 

When  the  paint  is  too  thin,  it  is  liable  to  run  under  the 
stencil  and  blur.  This  may  be  avoided  even  with  thin  paint 
by  using  the  brush  fairly  dry,  with  little  paint  in  it.  When 
“breaking  in”  a new  stencil,  make  several  prints  on  a piece  of 
wrapping  paper,  as  there  is  a slight  tendency  in  a brand  new 
stencil  to  run  under  on  the  first  print. 

Always  try  out  the  brush  on  a board  or  paper  to  see  that 
both  brush  and  color  are  working  right. 

The  Placing  of  the  Stencil 

Stencils  of  the  type  shown  on  page  129  give  no  dif- 
ficulty to  the  worker.  The  border  can  be  started  at  one 
corner  and  carried  around  the  room.  This  is  true  of  any 
stencil  which  does  not  separate  noticeably  into  prominent 
spots,  large  flowers  or  medallions.  Where  there  are  promi- 
nent points  of  interest,  the  room  will  be  in  better 
balance  if  these  features  are  centered  over  the  door  or  other 
conspicuous  opening  or  fixtifre  of  the  room.  Apply  the 
stencil  at  these  points  and  work  from  there,  filling  in  any  odd 
spaces  with  the  leaf  part  or  less  important  part  of  the  design. 


[ Page  135  ] 


When  a medallion  stencil  is  used  connected  by  a ribbon 
or  binder,  this  same  placing  should  be  observed  or  the  medal- 
lions may  be  paired  in  the  corners  in  the  small  room. 

Hand  tin  (j  of  Corners 

On  many  of  the  large  borders  it  is  not  desirable  to  finish 
each  corner  as  the  work  progresses,  as  this  would  involve 
bending  the  stencil  so  it  would  not  lie  fiat  for  the  straight 
wall  work  to  follow.  Work  as  closely  to  the  corner  as  possible 
without  bending  the  stencil  (merely  curving  the  stencil,  of 
course,  doesn’t  matter).  Then  measure  off  the  length  of  the 
design  from  guide  to  guide  on  the  wall  around  the  corner, 
and  place  the  next  print  at  that  point.  When  the  walls  are 
all  finished  but  the  corners,  the  stencil  must  be  bent.  Meas- 
ure off  the  first  space  and  mark  the  stencil,  bending  it  up  over 
a yardstick,  taking  care  not  to  break  the  design.  The  other 
corners  may  be  measured  and  the  stencil  bent  carefully  for 
each.  If  the  walls  are  true,  little  trouble  will  be  experienced. 

Frequently  it  will  be  desirable  to  have  the  stencil  come 
out  even  at  a certain  point.  Lay  off  the  pattern  on  the  wall 
when  about  six  or  eight  repeats  remain  and  find  what  the 
discrepency,  if  any,  will  be.  Divide  the  odd  space  by  the 
number  of  repeats  remaining,  and  then  proceed  to  “steal’’ 
that  distance  each  time,  extending  the  stencil  or  crowding 
it  as  required.  It  is  interesting  work. 

Trimming  the  Stencil 

Stencils  are  usually  furnished  so  that  the  top  edge  runs 
true  and  parallel  with  the  center  axis  of  the  design.  This 
should  be  verified  with  a ruler  if  in  doubt,  as  the  top  edge 
should  follow  the  moulding,  ceiling  angle  or  line  which  serves 
as  the  guide.  Where  the  stencil  is  to  come  higher,  the  top 
may  be  cut  down  or  a strip  may  be  pasted  on  to  drop  the 
design  lower.  I 

Stencil  Guides 

When  a stencil  is  cut  in  two  or  more  parts,  there  should 
be  marks  or  openings,  common  to  both  parts,  so  that  the 
next  part  can  be  adjusted  nicely  to  insure  proper  register. 


[ Page  136  ] 


Windows  and  doors  cut  up  the  wall  space  of  this  room 
in  such  a manner  that  the  unit  stencil  is  the  only  type  of 
design  which  may  he  used.  The  stencil  shown  is  the  same 
one  illustrated  in  color  at  the  head  of  this  chapter.  A suitable 

I"  r a m e d 
print  i n 
color  may 
be  used  in 
p I a c e o f 
the  sten- 
cil if  pre- 
ferred. 

This  ar- 
rangement 
will  avoid 
that  o d d 
a ppear- 
ance  pro- 
duced by 

the  contrast  between  the  large  empty  space  and  the  other 
walls  which  are  broken  up. 

A room  of  this  type  is  frequently  treated  in  simple  colors 
without  a stencil  border,  in  which  case  the  bright  colored 
cretonne 


overdrapes 
f u r n i s h 
the  prin- 
cipal color 
key.  One 
can  read- 
i 1 y see, 
h o we  v e r , 
that  the 
a d d i t i o n 
of  the 
border 
produces  a 
more  inti- 
mate or  personal  touch.  There  is  this  further  advantage, 
namely,  that  the  stencil  provides  a binder  to  join  the  spots 
of  color  created  by  the  cretonne  drapes,  preventing  a patchy 
appearance. 

[ Page  137  ] 


Stencil  Rules 


The  selection  as  well  as  the  proper  placing  of  the  stencil 
pattern  to  conform  to  the  construction  of  the  room,  division, 
etc.,  is  in  itself  a study.  We  feel  the  need  of  giving  fundamen- 
tal rules  regarding  just  this  feature  of  decorating,  as  the  im- 
proper placing  has  often  been  called  to  our  attention. 

Rule  1. — Use  size  of  borders  which  will  correspond  to  the 
proportion  of  the  room.  Smaller  borders  are  necessary  in  the 
low  ceilinged  room,  while  the  larger  designs  are  required  in 
public  interiors  where  the  ceilings  are  often  from  twelve  to 
fifteen  feet  high. 

Rule  2. — Select  the  character  of  the  pattern  which  will 
conform  to  the  character  of  the  room,  as  for  instance,  employ 
the  more  conventional  designs  in  those  rooms  which  are  con- 
structed along  the  severe  type,  while  the  more  floral  patterns 
are  suitable  in  those  rooms  where  the  other  features  give  a 
suggestion  of  beauty  of  line. 

Rule  3. — Do  not  use  a simple  stencil  border  in  a room  which 
is  to  be  decorated  and  furnished  in  a most  elaborate  style, 
and  vice  versa,  do  not  use  an  elaborate  border  in  a simply 
decorated  and  furnished  room. 

Rule  4. — Do  not  attempt  to  introduce  a stencil  border 
when  the  wall  is  of  such  a character  that  a pattern  will  only 
detract  from  the  appearance.  This  is  true  with  the  wall 
which  is  so  much  broken  and  cut  up  by  window  and  door 
spaces,  other  fixtures,  etc.,  that  unless  the  stencil  is  especially 
designed  for  the  particular  room,  it  cannot  be  used  with  any 
great  amount  of  freedom.  Panel  work  in  some  cases  is  ad- 
visable under  such  conditions,  but  special  stencil  patterns 
must  be  designed  for  this  work. 

Rule  5. — The  color  for  the  stencil  has  been  mentioned 
previously.  As  a rule,  stronger  colors  are  best  for  small 
borders.  For  the  larger  border,  colors  which  harmonize  with 
the  wall  color  to  a greater  extent,  are  desirable. 

Other  Interesting  Uses  for  Stencils 

The  Japanese  are  probably  the  most  skilled  of  all  artisans 
in  stencil  cutting.  They  have,  in  fact,  made  the  stencil  it- 
self a work  of  art,  entirely  independent  of  the  stencil  print. 
Paper  is  used  very  similar  to  our  heavy  manila  wrapping 


[ Page  138  ] 


paper.  This  is  stained  in  dark  antique  effect,  using  burnt 
umbers.  The  stencil  when  cut  and  completed  is  mounted 
over  bright  colored  silk  and  framed.  The  effect  and  work- 
manship are  wonderfully  beautiful.  Many  of  these  stencils 
resemble  lace  rather  than  stencils,  so  finely  are  they  cut,  the 
design  covering  practically  the  entire  space.  Many  of  these 
stencils  are  so  fragile  that  the  ties  are  re-enforced  by  hair 
stretched  across  at  intervals  and  cemented  on.  These  de- 
signs (defying  our  Occidental  patience  to  reproduce)  make 
splendid  framed  exhibits  or  can  be  used  for  tea  wagons  and 
trays,  covered  with  glass. 

Hand  decorated  velvets  and  curtainings  will  always  be 
in  demand.  Periodically  there  is  a craze  for  this  type  of  work 
which  usually  plays  itself  out  through  being  done  to  death, 
and  also  because  of  poor  results  produced  through  lack  of 
skill.  Hand  stenciled  velvets  and  curtains  fall  into  the  same 
class  as  hand  blocked  wall-papers  and  fabrics,  and  do  not 
lend  themselves  to  quantity  production.  Hand  stenciled 
fabrics  can,  of  course,  vary  in  color  in  the  repeats  which  gives 
this  work  a distinctive  quality,  not  found  in  printed  goods. 

Either  a border  or  an  all-over  pattern  may  be  used.  The 
colors  employed  need  not  be  run  uniform  over  the  entire 
piece.  The  variation  should,  of  course,  be  kept  within  certain 
limitations,  and  where  a red,  for  instance,  is  blended  into  a 
red-orange,  the  blending  should  be  gradual.  This  may  be 
accomplished  by  taking  on  a small  amount  of  the  red-orange 
with  the  brush  along  with  the  red,  without  any  great  effort 
being  required.  This  is  true  of  other  colors  also.  A knowledge 
of  the  simple  rules  of  color  harmony  will  help  make  the  right 
choice  of  colors  to  use  in  blending. 

If  interested  in  stencil  patterns  write  to  the  Department 
of  Decoration,  The  Sherwin-Williams  Co.,  601  Canal  Road, 
Cleveland,  Ohio,  and  ask  for  complete  stencil  catalogue. 


i 


[ Page  139  ] 


Specifications  follow  covering  the  color  plates  shown  in 
the  preceding  pages: 

1 Neighborhood  of  Homes 

The  variety  shown  in  the  types  of  houses  in  this  neigh- 
borhood of  homes  is  possible  to  reproduce  anywhere  at  will. 
If  a person  purchases  a lot  and  intends  to  build  in  a neigh- 
borhood where  there  are  already  a number  of  homes  of  good 
design,  it  is  really  incumbent  upon  him  to  give  most  careful 
eonsidetation  to  the  selection  of  type  in  the  home  he  is  to 
build.  He  will  not  be  limited  to  only  one  style,  but  there  will 
probably  be  several  styles  he  ought  not  to  build — good  in 
themselves  but  not  suitable  when  considered  in  relation  to 
his  neighbors’  homes. 

Even  though  the  most  appropriate  style  of  building  might 
be  a possible  second  choice  as  far  as  personal  preference  is 
concerned,  the  improved  neighborhood  or  group  effect  would 
result  in  increased  value  for  every  house.  The  same  is  true 
of  the  painting  treatment.  Even  though  every  person  in 
the  neighborhood  preferred  the  all  white  treatment  in  paint- 
ing, the  result  would  be  unfortunate  if  all  houses  were  white. 
They  would  all  become  soiled  with  weather  and  would  pre- 
sent a very  shabby  street  scene.  White,  or  any  color  for  that 
matter,  is  interesting  only  as  shown  in  some  pleasant  associa- 
tion with  other  tones  which  will  improve  it  and  in  turn  are 
improved  themselves. 

America  has  made  a very  definite  contribution  to  archi- 
tecture in  the  Colonial  home.  There  are — broadly  speaking- 
three  general  types.  One  type  is  traced  back  to  the  style 
home  of  which  we  still  have  many  splendid  specimens,  whose 
sturdiness  has  survived  the  ravages  of  wind  and  rain  for  all 
these  years.  This  type  was  popular  in  the  northern  states. 
A modern  reproduction  of  this  style  is  shown  as  the  center 
home  in  our  plate  on  page  1G. 

The  Southern  Colonial  mansion  made  free  use  of  the 
column  with  splendid  effectiveness  and  also  gave  us,  very 
largely,  our  American  love  of  the  porch  or  veranda.  The 
southern  house  made  very  general  use  of  the  second  floor 
porch  also,  or  balcony. 

The  third  type  we  call  the  Dutch  Colonial  house,  which  is 
characterized  by  the  hip  roof.  This  broken  roof  provides 
for  more  space  in  the  upper  story  than  could  be  had  with  a 


T Page  140  ] 


straight  roof.  The  small  gray  shingle  cottage  to  the  right  in  the 
plate  on  page  12  is  a modern  rendering  of  this  type.  The 
cobblestone  chimney  gives  promise  of  a deep-throated  fire- 
place within  and  cosy  winter  evenings. 

The  home  at  the  left  is  a virile  example  of  the  modern  use 
in  architecture  of  primitive  types.  The  gables  with  their 
trimmed  peaks  remind  one  strongly  of  the  English  thatched 
roof.  The  stucco  walls  may  be  trowelled  smooth  or  given  a 
sandfloat  finish  which  produces  a more  interesting  texture  and 
light  effect. 

Specifications 

House  at  the  left : 

Roof  Color — S-W  Preservative  Shingle  Stain  B-41. 

Body  Color — S-W  Concrete  Finish  Cream. 

Trim  Color — SWP  388  Modern  Brown. 

Sash  Color — SWP  496  Ivory. 

Front  Door — S-W  Handcraft  Stain  Brown  Oak,  protected  with  S-W 
Rexpar  Varnish. 

Center  House: 

Roof  Color — S-W  Preservative  Shingle  Stain  C-74. 

Body  and  Trim  Color — SWP  Outside  Gloss  White. 

Front  Door  and  Benches — S-W  Old  Dutch  Enamel  White. 

Blinds — SWP  461  Willow  Green. 

Alternate  Scheme: 

Roof  Color — S-W  Preservative  Shingle  Stain  B-41. 

Body  and  Trim  Color — SWP  496  Ivory. 

Sash  Color  and  Blinds — SWP  355  .Sage  Green. 

House  at  the  right: 

Roof  Color — S-W  Preservative  Shingle  Stain  C-72. 

Body  Color — S-W  Preservative  Shingle  Stain  C-82. 

Trim  and  Sash  Color — SWP  Gloss  White. 

Blinds — SWP  498  Moss  Green. 

The  Bungalow  Horne 

Although  the  California  background  makes  these  homey 
little  bungalows  doubly  attractive,  the  lover  of  our  eastern 
scenery  will  place  them  as  effectively  wherever  he  “builds 
his  nest.” 

A gratifying  sign  of  the  times  is  the  growth  of  community 
plannings.  Many  contractors  and  building  companies  plan 
and  build  entire  neighborhoods  with  a view  toward  securing 
harmony  in  style  and  painting  treatment.  Such  practice 
insures  every  individual  home  of  appearing  its  best,  both 
alone  and  in  the  neighboring  group  of  houses. 


I Page  141  ] 


Specifications 


House  at  the  left: 

Hoof  Color — S-W  Preservative  Shingle  Stain  C-72. 

Body  Color— S-W  Preservative  Shingle  Stain  B-47. 

Trim  Color — SWP  391  Quaker  Drab. 

Front  Door — Same  as'trim  color. 

Center  House: 

Hoof  Color — S-W  Preservative  Shingle  Stain  B-41. 

Body  Color — S-W  Concrete  Finish  Cream. 

Trim  Color — SWP  499  Antique  Brown. 

Front  Door — S-W  Handcraft  Stain  Fumed  Oak,  protected  by  S-W 
Rexpar  Varnish. 

House  at  the  Right : 

Hoof  Color — S-W  Carbolic-ol  Shingle  Stain,  Extra  Dark. 

Body  Color — SWP  49C  Ivory. 

Trim  Color — SWP  355  Sage  Green. 

Front  Door — S-W  Golden  Oak  Stain,  protected  with  S-W  Rexpar. 


A Small  English  Slucco  Residence 

To  the  person  who  has  an  appreciation  of  architectural 
values,  the  simple  quaintness  of  this  little  home  with  its 
English  casement  windows  and  Gothic  door,  would  be  a 
constant  source  of  delight. 

The  concrete  bird  basin  has  been  made  the  center  of  in- 
terest in  a clump  of  formal  dwarf  evergreens.  It  will  provide 
an  interesting  spot  both  in  itself  and  the  bird  life  it  will  bring 
to  the  lawn. 

Specifications 

Body  Color — S-W  Concrete  Finish  Extra  Light  Gray. 

Trim  Color — Window  Casings  and  Sash,  SWP  496  Ivory. 

Door — S-W  Handcraft  Stain  Weathered  Oak,  protected  with  S-W 
Rexpar  Varnish. 

Hoof  Color — S-W  Preservative  Shingle  Stain  B-41. 


.4  Home  in  Colonial  Yellow 

A dominant  feature  of  the  old  Colonial  homes  that  have 
come  down  to  us,  is  the  scrupulous  care  bestowed  upon  the 
detail  of  doors  and  entryways,  cornice,  paneling,  etc..  Our 
best  makers  of  standard  millwork  have  caught  the  spirit  so 
that  one  may  now  secure  very  creditable  pieces  for  the  modern 
Colonial  residence. 


[ Page  142  ] 


Good  design  is  the  element  of  architecture  which  never 
goes  out  of  style,  and  we  are  only  beginning  to  come  to  a 
true  appreciation  of  the  value  of  our  old  colonial  architecture 
and  the  lessons  it  still  holds  for  us. 

The  brick  walk  adds  a touch  of  color  texture  and  is  less 
formal  then  plain  flagging  would  be. 

Specifications 

Roof  Color — S-W  Preservative  Shingle  Stain  B-41. 

Body  Color — SWP  375  Colonial  Yellow. 

Trim  Color — SWP  Outside  Gloss  White. 

Front  Door — S-W  Old  Dutch  Enamel  White. 

Blinds — SWP  498  Moss  Green. 


A Cosy  Little  Farm  Cottage 

The  last  few  years  have  brought  about  the  most  remark- 
able change  in  the  type  of  farm  homes.  Freer  communication 
and  transportation  facilities  have  brought  about  a wider 
interchange  of  ideas,  so  that  the  principal  difference  between 
the  modern  farm  home  and  the  city  residence  is  that  the 
farm  home  has  decidedly  the  better  setting  of  the  two.  With 
more  people  passing  his  door  in  a day  now  than  formerly 
went  by  in  a month,  the  farmer  naturally  has  a greater  in- 
centive, pride  and  pleasure  in  having  a real  home,  than  ever 
before.  Any  one  of  the  homes  shown  in  this  volume,  there- 
fore, is  just  as  much  a farmer’s  home  as  a city  or  suburban 
residence. 

Specifications 

Boof  Color — S-W  Preservative  Shingle  Stain  C-74. 

Body  and  Trim  Color — SWT  Outside  Gloss  White. 

Blinds — SWP  461  Willow  Green. 

Barn  and  Wood  Silo — S-W  Commonwealth  Barn  Gray. 

A Comfortable  Living-Room 

A glowing  log  in  the  fireplace,  a great  big  arm  chair,  your 
favorite  book  and  the  soft  light  of  the  reading  lamp  by  your 
shoulder- — who  could  ask  for  more  on  a long  winter  evening? 

The  Colonial  built-in  bookcase  can  be  furnished  ready  to 
install  by  our  modern  makers  of  fine  mill  work.  The  mantel- 
piece would,  we  think,  be  just  as  interesting  done  in  tapestry 
brick  as  in  the  marble  or  sandstone  of  our  illustration.  The 
polychrome  candlesticks  may  be  wired  for  electric  lamps 


[ Page  143  ] 


and  furnished  with  parchment  shades  with  wonderful  effect. 
Parchment  shades  provided  for  the  candelabra  too,  will  pro- 
vide a softer  and  more  diffused  light  than  the  open  fixture. 
Specifications 

Ceiling  Color — Sherwin-Williams  Flat-Tone  Ivory  White. 

Wall  Color — Flat-Tone  Mixture  Silver  Gray  and  Caen  Stone  or  Flat-Tone 
Multi-Color  Stipple  Effect  No.  26,  requiring  Flat-Tone  Silver  Gray 
and  Caen  Stone  equal  parts  foundation  color,  stippled  with  Flat- 
Tone  Silver  Gray.  Put  on  with  sponge.  Thin  with  one  part 
Mixing  Size  to  three  parts  Flat-Tone. 

Woodwork,  Oak — Sherwin-Williams  Handcraft  Stain  Brown  Oak.  Sher- 
win-Williams Scar-not  Varnish  (see  page  53). 

Floor , Oak — Protected  with  Sherwin-Williams  Mar-not  Varnish. 

.4  Dainty  Room  in  Ivory  Tan  and  Blue 
Here  is  a suite  of  rooms  which  would  be  the  delight  of  any 
girl,  and  the  girl’s  mother  too,  for  that  matter.  The  sunshine 
in  this  room  was  put  there  when  the  colors  were  chosen  for 
the  walls,  the  friendly  ivory  of  the  enameled  woodwork  and 
furniture,  and  the  genial  warmth  of  the  pongee  curtains. 
Deep  blue  rugs  always  give  a feeling  of  richness  when  combined 
with  old  ivory. 

Specifications 

Ceiling  Color — Sherwin-Williams  Flat-Tone  Ivory  White. 

Wall  Color — Flat-Tone  Ivory  Tan  or  Flat-Tone  Multi-Color  Stipple 
Effect  No.  48,  requiring  Flat-Tone  Ivory  Tan  foundation  color, 
stippled  with  Flat-Tone,  Cream.  Put  on  with  a sponge.  Thin  with 
1 part  Mixing  Size  to  3 parts  Flat-Tone. 

Slencil  Border— Design  No.  7071  applied  with  S-W  Glaze  and  Stencil  Colors. 
Stems,  Japanese  Brown;  Leaves,  Olive  Lake,  Raw  Sienna  and 
White,  equal  parts;  Bird,  White,  tinted  with  Rose  Lake  and  Black. 
Woodwork — Sherwin-Williams  Old  Dutch  Enamel  Ivory  White. 

Floor,  Oak — Protected  with  S-W  Mar-not  Varnish. 

Bug — Deep  blue  in  solid  color. 

Curtains — Pongee. 

Furniture — Ivory  White  Enamel  striped  with  rose. 

Ad  join  inr)  Room 

Ceiling  Color — Sherwin-Williams  Flat-Tone  Caen  Stone. 

Wall  Color — Flat-Tone  Shell  Pink  reduced  with  Flat-Tone  White. 

Colonial  Bedroom 

There  is  a sincerity  in  the  treatment  of  this  bedroom  that 
is  refreshing.  The  honest  and  sturdy  furniture  speaks  for 
comfort  and  service.  The  stippled  wall  has  been  made  prom- 
inent so  as  to  show  the  texture  one  would  not  find  except 
at  closer  observation.  The  wall  may  be  made  darker  or 
lighter  as  desired. 


[ Pa^e  144  ) 


Specifications 

Ceiling  Color — Flat-Tone  Ivory  White. 

Wall  Color — Flat-Tone  Multi-Color  Stipple  Effect  No.  .'14,  requiring  Flat- 
Tone  Pearl  Gray  foundation  color,  stippled  with  Flat-Tone  Caen 
Stone.  Put  on  with  a sponge.  Thin  with  turpentine.  (Founda- 
tion color,  Pearl  Gray,  should  be  tinted  with  one  pint  Flat-Tone 
Pale  Azure  to  the  gallon  of  Pearl  Gray). 

Stencil  Design — No.  7054,  requiring  the  following  colors:  Leaves,  White 
tinted  with  Raw  Sienna;  Flowers,  White  tinted  with  Cobalt. 

Woodwork — Old  Dutch  Enamel  Ivory  White  (see  page  GO). 

Floor , Oak — Protected  with  Mar-not  Varnish  (see  page  67b 

Furniture — Dark  Colonial  Mahogany  (see  page  53). 

Drapes  and  Lighting  Fixtures — Figured  silk  or  cretonne. 

Curtains — White  net. 

Rag  rugs — In  blue  and  black. 

Adjoining  Room 

Ceiling  Color — Flat-Tone  Caen  Stone. 

Wall  Color — Flat-Tone  Multi-Color  Stipple  Effect  No.  29,  requiring  Flat- 
Tone  Silver  Gray  and  Shell  Pink  foundation  color,  stippled  with 
Flat-Tone  Silver  Gray  2 parts  and  Ivory  1 part.  Put  on  with  a 
sponge.  Thin  with  1 part  Mixing  Size  to  3 parts  Flat-Tone. 


.4  Colorful  Dining-Room 

Perhaps  you  experience  the  same  pleasure  we  felt  upon  first 
seeing  the  satisfying  richness  of  color  displayed  in  this  dining- 
room. One  can  see  that  the  blue  fruit  bowl  is  a prized  posses- 
sion and  deserves  its  place  of  honor.  The  intense  color  of  the 
candlestick  shades,  fruit  dish  and  upholstery  of  the  chairs 
can  retain  their  full  value  and  effectiveness  only  when  pro- 
perly supported  by  the  heavier  values  of  the  wall  color  and 
rug.  Birch  woodwork  was  indicated  in  this  room,  stained  in 
Antique  Brown  Mahogany,  which  takes  so  well  on  birch. 

Specifications 

Ceiling  Color — Sherwin-Williams  Flat-Tone  Ivory  or  Ivory  White. 

Wall  Color — S-W  Flat-Tone  Buff  Stone  or  S-W  Flat-Tone  System  Effect 
No.  3.  Flat-Tone  System  Effect  No.  3.  requiring  Flat-Tone  Ivory 
and  Glaze  Color  Japanese  Brown. 

Woodwork,  Birch — S-W  Acid  Stain  Brown  Mahogany,  protected  with  S-W 
Scar-not  Varnish. 

Floor,  Oak — S-W  Golden  Oak  Paste  Filler;  S-W  Mar-not  Varnish. 


[ Pagre  145  ] 


Specifications 

The  Lillie  Gray  Cottaye 

Hoof  Color — Sherwin-Williams  Preservative  Shingle  Stain  A-21. 
Body  Color — Preservative  Shingle  Stain  C-82. 

Trim  Color — SWP  496  Ivory. 


.4  Man’s  Room 

Ceiling  Color — S-W  Flat-Tone  Silver  Gray  and  Cream. 

Wall  Color — S-W  Flat-Tone  Buff  Stone  and  Pale  Azure. 

Woodwork  arid  Beams — S-W  Handcraft  Stain  Green  Weathered  Oak  or 
Sherwin-Williams  Acid  Stain  Silver  Gray  wdth  a toner  of  Flat- 
Tone  Buff  Stone  and  Pale  Azure,  equal  parts  (see  page  57). 

Floor  (Stained) — S-W  Handcraft  Stain  Cathedral  Oak,  S-W  Mar-not 
Varnish. 

Floor  iMmp — Metal  standard  with  shade  of  mottled  parchment  paper. 
Furniture — Figured  tapestry,  velour. 


A Homey  Living- Room 

Ceiling  Color — Sherwin-Williams  Flat-Tone  Ivory  White. 

Wall  Color — Sherwin-Williams  Flat-Tone  System  Effect  No.  36,  requiring 
a foundation  color  of  Flat-Tone  Caen  Stone.  Over’  this  are  applied 
two  mixtures  of  Flat-Tone  Glazing  Liquid  tinted  with  Flat-Tone 
Glaze  and  Stencil  Colors  Ivory  Drop  Black  and  Burnt  Sienna 
respectively.  These  colors  are  applied  to  the  wall  and  stippled 
with  a crumpled  cloth  to  produce  texture  (see  page  118). 

Stencil  Border- — Design  No.  3009  outline  applied  with  Glaze  and  Stencil 
Color  Raw  Umber  and  filled  in  with  Glaze  Colors  Olive  Lake,  Raw 
Sienna  and  Orange  Lake  (see  page  125  on  stencils). 

Woodwork  Trim — Sherwin-Williams  Old  Dutch  Enamel  Ivory  White. 

Doors,  Birch — Sherwin-Williams  Acid  Stain  Antique  Brown  Mahogany, 
protected  with  Sherwin-Williams  Scar-not  Varnish. 

Floor,  Oak — Sherwin-Williams  Oak  Paste  Killer,  Mar-not  Varnish. 

Rug — Figured  brown. 


.4  Dining- Room  in  the  Spirit  of  Old  Colony  Days 

Ceiling  Color — Sherwin-Williams  Flat-Tone  Ivory  White. 

Wall  Color — Sherwin-Williams  Flat-Tone  System  Effect  No.  29,  requiring 
a foundation  color  of  Flat-Tone  Caen  Stone.  Over  this  are  applied 
two  mixtures  of  Sherwin-Williams  Flat-Tone  Glazing  Liquid, 
tinted  with  Flat-Tone  Glaze  and  Stencil  Colors  Japanese  Brown 
and  Cobalt  Blue  respectively.  These  are  stippled  with  a crumpled 
cloth  to  produce  texture  (see  page  118). 

Slencil  Border — Design  No.  7055,  applied  with  Sherwin- Williams  Glaze 
and  Stencil  Colors:  Outlined  with  Raw  Sienna  and  filled  in  with 
Raw  Sienna,  Olive  Lake  and  Orange  Lake. 

Woodwork — Sherwdn-Williams  Old  Dutch  Enamel  Ivory  White,  with 
carpet  strip  in  Handcraft  Stain  Extra  Dark  Mahogany. 

Floor,  Oak — Oak  Paste  Filler,  Mar-not  Varnish. 

Rug — Solid  color  dull  green. 


[ Page  146  ] 


Specifications 

.4  Charming  Living-Room  in  Gray  and  Green 

Ceiling  Color — Sherwin-Williams  Flat-Tone  Ivory  White. 

Wall  Color — Sherwin-Williams  Flat-Tone  Multi-Color  Stipple  Effect  No. 
25,  requiring  Flat-Tone  Silver  Gray  foundation  color  stippled  with 
Flat-Tone  Silver  Gray  and  Ivory.  Put  on  with  a sponge.  Thin 
with  1 part  Mixing  Size  to  3 parts  Flat-Tone. 

Stencil  Border — Design  No.  7051,  applied  with  White  tinted  with  Flat- 
Tone  Glaze  and  Stencil  Color  Deep  Olive  for  the  leaves;  White 
tinted  with  Rose  Lake  for  the  flowers. 

Floor,  Oak — Sherwin-Williams  Oak  Paste  Filler,  Mar-not  Varnish. 

Bug — Dark  blue-green. 

.4  Cheerful  Dining-Room  in  Modern  Treatment 

Ceiling  Color — Sherwin-Williams  Flat-Tone  Ivory  White. 

Upper  Wall  Color — Sherwin-Williams  Flat-Tone  Multi-Color  Stipple  Ef- 
fect No.  40,  requiring  Flat-Tone  Ivory  Tan  foundation  color, 
stippled  with  Flat-Tone  Silver  Gray  2 parts,  Cream  1 part.  Put  on 
with  a sponge.  Thin  with  1 part  Mixing  Size  to  3 parts  Flat-Tone. 

Stencil  Border — Design  No.7072  applied  with  S-W  Glaze  and  Stencil  Colors; 
Flower  centers,  Orange  Lake  1 part.  Raw  Sienna  1-6  part  and 
White  1 part.  Leaves,  White  tinted  with  Raw  Sienna  and  Cobalt. 
Stems,  White  1 part,  Cobalt  1-8  part,  and  Raw  Sienna  1-16  part. 
Flowers,  Cobalt  1-2  part  and  White  1 part. 

Lower  Wall  Color — Sherwin-Williams  Flat-Tone  Multi-Color  Effect  No.  27, 
requiring  Flat-Tone  Silver  Gray  and  Pale  Azure  foundation  color, 
stippled  with  Flat-Tone  Silver  Gray  2 parts  and  Ivory  1 part. 
Put  on  with  a sponge.  Thin  with  1 part  Mixing  Size  to  3 parts 
Flat-Tone.  , 

Woodwork — S-W  Old  Dutch  Enamel  White. 

Overdrapes — Figured  cretonne. 

Bug — Solid  color,  deep  Chinese  blue. 


,4  Bathroom  in  Soft  Sea  Green 

Ceiling  and  Walls — S-W  Flat-Tone  Lichen  Gray. 

Woodwork  and  Wainscoting — Old  Dutch  Enamel  Ivory  White. 

Floor — Figured  linoleum,  protected  with  S-W  Mar-not  Varnish. 

.4  Hospitable  Hall 

Ceiling  Color — Sherwin-Williams  Flat-Tone  Ivory  White. 

Wall  Color — Sherwin-Williams  Flat-Tone  Cream  or  Flat  - Tone  Multi- 
Color  Stipple  Effect  No.  32,  requiring  Flat-Tone  Cream  foundation 
color  stippled  with  Flat-Tone  Ivory  for  1st  mixture;  2nd  mixture: 
Flat-Tone  Silver  Gray  1 part  and  Cream  2 parts.  Put  on  with  a 
sponge.  Thin  with  1 part  Mixing  Size  to  3 parts  Flat-Tone. 

Woodwork  Trim  and  Step  Bisers — Sherwin-Williams  Old  Dutch  Enamel 
White. 

Doors,  Stairlreads,  Handrail,  Birch — Sherwin-Williams  Acid  Stain  Mahog- 
any, protected  with  Sherwin-Williams  Scar-not  Varnish,  Mar-not 
Varnish  for  stairtreads. 

Floor,  Oak — Oak  Paste  Filler,  Mar-not  Varnish. 

Furniture — Dark  Colonial  Mahogany. 

Bugs — Oriental  or  Anglo-Persian. 

[ Page  147  ] 


Specifications 

.4  Happy  Treat  merit  for  the  Dutch  Colonial  House 

Hoof  Color — S-W  Preservative  Shingle  Stain  B-41. 

Hody  Color — SWP  496  Ivory. 

Trim  Color  and  Blinds — SWP  461  Willow  Green. 

A Living-Room  in  Old  Ivory,  Blue  and  Mulberry 

Ceiling  Color — S-W  Flat-Tone  Ivory  White. 

Wall  Color — Flat-Tone  Ivory  Tan. 

Woodwork,  Birch — Finished  in  Acid  Stain  Antique  Brown  Mahogany, 
protected  with  Scar-not  Varnish  (see  page  49). 

Floor — Finished  in  Oil  Stain  Walnut,  protected  with  Mar-not  Varnish 
(see  page  49). 

Furniture  (Jacobean) — Oak  table  protected  with  Scar-not  Varnish,  Cabinet 
finished  in  Velvet  Finish  No.  1044.  Chairs  upholstered  in  velour. 
Bug — Solid  color  deep  blue. 

Floor  Lamp — Shade  finished  in  a two-color  glaze  effect  requiring  Glaze 

Color  Italian  Blue  and  Alizarine  Green. 

• 

Mantel — Finished  in  Old  Dutch  Enamel  Ivory  White,  wiped  in  Glaze 
Color  Raw  Sienna  and  Japanese  Brown,  equal  parts. 

Dining-Room  in  Gray 

Ceiling  Color — Flat-Tone  Caen  Stone. 

Wall  Color — Flat-Tone  Multi-Color  Stipple  Effect  No.  25,  requiring  Flat- 
Tone  Silver  Gray  foundation  color  stippled  with  Flat-Tone  Silver 
Gray  and  Ivory.  Put  on  with  a sponge.  Thin  with  1 part  Flat- 
Tone  Mixing  Size  to  3 parts  Flat-Tone. 

Woodwork — Old  Dutch  Enamel  White  (see  page  00). 

Floor,  Dak — Protected  with  Mar-not  Varnish. 

Furniture  Jacobean) — American  walnut  finished  in  Handcraft  System 
Effect  No.  40  (see  page  57). 

Bug — Solid  color,  deep  inaroon. 

Breakfast  Room  in  Blue  and  Tan 

Ceiling  Color — S-W  Flat-Tone  Ivory  White. 

Wall  Color — S-W  Flat-Tone  Ivory  Tan — Alternative  wall  color,  Flat- 
Tone  Cream. 

Floor,  Oak — Protected  with  Mar-not  Varnish — Alternative  floor  treatment, 
Battleship  linoleum  in  shade  of  Tete  de  Negre,  protected  with 
Mar  -not  Varnish. 

Table  and  Windsor  Chairs — Finished  in  Enameloid  Sky  Blue. 

Curtains — White  cretonne  figured  in  dull  orange  and  blue. 

.4  Kitchen  in  Ivory  and  Blue 

Ceiling  and  Walls — Enameloid  Ivory  White. 

Wainscoting,  Keene  s Cement — Old  Dutch  Enamel  Gloss  White. 

Floor — Checkered  blue  and  white  linoleum  protected  with  S-W  Mar-not 
Varnish. 

Note:  Mar-not  Varnish  will  make  the  linoleum  easier 
to  wash  up  and  will  protect  the  figure  and  prevent  its  wear- 
ing shabby  (see  page  75.) 

Drain  Boards — White  porcelain. 

Curtains — Figured  cretonne. 


[ Page  148  ] 


Chapter  XII 


M iscellaneous  Interior  Finishing 

WONDERFUL  opportunity  exists  to  give  the  home 


a pleasing,  harmonious  and  distinctive  atmosphere 


**-  through  the  intelligent  use  of  paint  and  varnish 
materials  on  the  little  things  about  the  house.  Many  articles 
which  do  not  exactly  correspond  with  the  present  scheme  of 
decoration,  or  which  may  be  a little  out  of  date,  may  be  re- 
finished in  appropriate  modern  effect  with  very  little  trouble. 

Hard  wear  and  occasional  accidents  also  cause  certain 
pieces  of  furniture  to  become  worn  and  marred  so  that  they  are 
not  up  to  the  general  standard  of  the  room.  A coat  of  varnish, 
stain,  enamel  or  whatever  may  be  necessary  will  brighten  up 
these  pieces,  and  make  them  look  practically  like  new  again. 

Then,  too,  almost  every  home  has  stowed  away  in  the 
attic  or  storeroom  discarded  articles  which  have  seen  better 
days.  These  can  be  transformed  into  beautiful  and  useful 
pieces  of  furniture,  with  a little  paint  or  varnish,  enamel, 
stain,  aluminum,  gold,  etc. 

And  the  best  part  of  it  all  is  that  this  work  is  easy,  quick 
and  interesting,  and  the  cost  of  the  small  amount  of  paint 
necessary,  immaterial. 

Following  are  some  suggestions  for  the  treatment  of  “little 
things  about  the  house”  which  will  indicate  the  possibilities 
in  this  direction  in  every  home. 


Andirons,  Ornamental  Iron,  Etc. 


For  these  surfaces  use  S-W  Flat  Black.  It  comes  ready  for 
use  and  should  be  applied  in  one  or  two  coats  with  a brush. 
Also  suitable  for  use  on  wooden  surfaces  to  give  the  effect  of 
wrought  iron. 

Bath  Tubs,  Refrigerators,  Sinks,  Etc. 

Metal  lined  bath  tubs,  refrigerators,  sinks,  etc.,  should 
be  kept  protected  with  the  heavy  porcelain-like,  water  and 
germ-proof  surface  which  S-W^Bath  Enamel  will  give  them. 


[ Page  149  ] 


Before  applying,  clean  thoroughly  and  wipe  off  with  a 
cloth  saturated  with  benzine  to  remove  all  grease  and  soap 
deposits.  Rub  surface  with  fine  sandpaper  or  with  pumice- 
stone  until  it  is  smooth  so  that  the  enamel  will  more  easily 
adhere.  Stir  enamel  thoroughly  from  bottom  of  can  and 
apply  with  a fitch  or  soft  bristle  brush,  spreading  evenly, 
and  in  thin  coats.  Allow  about  twenty-four  hours  for  each 
coat  to  drj’,  and  for  best  results,  sandpaper  lightly,  with  fine 
finishing  paper  or  moss,  between  coats.  Three  coats  are 
necessary  if  a porcelain-like  surface  is  desired.  Several 
days  should  be  allowed  after  the  last  coat  has  been  applied 
before  permitting  water  to  touch  the  surface.  Then  run  cold 
water  in  first  to  assist  it  in  hardening.  If  the  enamel  is  too 
heavy  to  work  freely,  thin  it  slightly,  using  about  a pint  of 
turpentine  to  a gallon  of  enamel.  Keep  the  enamel  well 
covered  when  not  in  use. 

For  tubs  not  previously  enameled  or  on  bare  spots,  a coat 
of  Bath  Enamel  Ground  should  be  given  and  allowed  to  stand 
forty-eight  hours  before  applying  Bath  Enamel. 


Bedsteads 

Bedsteads  may  be  refinished  to  correspond  with  the 
decorative  scheme  of  any  room,  or  if  marred  and  worn, 
may  be  made  like  new  again  with  S-W  Enamel  or  Enameloid. 
White,  black  and  many  attractive  colors.  Full  directions  for 
enameling  will  be  found  on  page  60. 

Chairs 

Chairs  permit  of  many  pleasing  methods  of  decoration, 
depending  upon  the  style  of  chair,  the  corresponding  furnish- 
ings, the  preference  of  the  owner,  etc.  For  instance,  chairs  of 
the  light,  daintily  constructed  type  may  be  finished  in  gold 
or  aluminum  or  in  dainty  pink,  blue  or  gray  or  ivory  enamel  to 
harmonize  with  the  decoration  and  furnishings.  Large  arm 
chairs,  morris  chairs,  etc.,  may  be  finished  in  Handcraft 
Stain  Effects,  as  desired.  Wicker  chairs  may  be  finished  with 
S-W  Enamel  or  Enameloid,  Varnish  Stain  or  Clear  Varnish. 
Dining  room  chairs  may  be  varnished.  Information  regarding 
enameling,  varnishing,  etc.,  will  be  found  on  pages  48  and  60. 


f Page  150  ] 


Clothes  Closets 

Clothes  closets  are  usually  dark,  unattractive  places.  They 
can  be  made  just  the  opposite.  A window  to  flood  the  room 
with  sunshine  and  permit  frequent  airings,  an  electric  light 
to  make  it  easy  to  see  at  nieht  and  on  dark  days,  and  a coat 


of  S-W  White  Enamel  or  S-W  Flat 


The  attic  may  be  made  very  attractive  with  pre- 
viously discarded  furniture  made  to  took  like 
new  again  with  a little  paint  and  varnish 


though  with  very  fine  articles 
expert  finisher.  Full  directions 
on  pages  47  to  (50. 


-Tone  Ivory  or  Ivory  White 
on  the  walls,  will  make  the 
clothes  closet  a most  at- 
tractive little  room,  light, 
sanitary  and  convenient 
to  use.  Full  directions  for 
enameling  on  page  60. 

Library  and  Dining- 
Room  Tables,  Etc. 

Dining-room  and  libra- 
ry tables  and  other  similar 
pieces  of  furniture  may  be 
refinished  if  directions  are 
followed  carefully;  al- 
it  is  better  to  employ  an 
for  finishing  will  be  found 


Fixtures 

Fixtures  of  all  kinds  can  be  made  to  harmonize  with  deco- 
ration and  furnishings  with  suitable  paint  or  varnish  products. 

Pretty  and  dainty  effects  can  be  obtained  with  S-W 
Aluminum  Paint,  S-W  Empress  Liquid  Gold,  which  is  put 
up  ready  for  use,  or  S-W  Imperial  Gold  Enamel,  which  comes 
with  powder  and  liquid  separate  and  is  mixed  by  the  user. 
Subdued  or  contrasting  effects  as  desired  may  be  obtained 
with  S-W  Flat-Tone;  and  more  modest  effects  may  be  ob- 
tained wdth  S-W  Black  Enamel  or  Flat  Black.  Full  directions 
for  enameling  will  be  found  on  page  60. 


Furniture 

Furniture  of  all  kinds  that  is  worn  or  marred  may  be  easily 
refinished  by  the  housewife  with  S-W  Floorlac,  which 
produces  a beautiful  stained  and  varnished  effect  in  one 
operation.  On  surfaces  previously  finished  with  varnish  stain 


[ Page  151  ] 


or  varnish,  simply  sandpaper  with  00  sandpaper  and  apply 
the  Floorlac.  If  surface  is  in  very  bad  condition  or  has  been 
previously  painted,  apply  a coat  of  S-W  Floorlac  Ground 
before  applying  the  Floorlac. 

Fine  pieces  of  furniture,  however,  such  as  pianos,  victrolas, 
fine  dining-room  sets,  library  tables,  etc.,  should  not  be  at- 
tempted by  those  without  practical  experience  and  an  expert 
finisher  should  be  employed  to  do  this  work. 

Radiators,  Boilers,  Water  Pipes,  Etc. 

There  are  several  kinds  of  finishes  which  can  be  used  on 
these  surfaces.  Where  a metallic  effect  is  desired,  S-W  Liquid 
Gold  or  S-W  Aluminum  Paint  may  be  employed.  One  coat 
of  this  material  should  give  a satisfactory  surface.  For 
best  results,  apply  when  the  surface  is  slightly  warm,  and 
after  use  allow  at  least  twenty-four  hours  before  subjecting 
to  high  temperature. 

If  a finish  matching  enameled  woodwork  is  desired,  use 
S-W  Enamel  or  S-W  Enameloid  in  the  desired  tint  as  directed 
for  woodwork,  page  60.  When  the  radiators  are  new  and 
have  not  been  given  a priming  coat  at  the  factory,  S-W  Gal- 
vanized Iron  Primer  is  necessary  as  a first  coat  (before  building 
up  the  undercoating  of  flat  paint). 

Where  the  radiators  are  to  be  finished  to  match  the  walls, 
employ  one  of  the  following  methods:  (a)  If  the  surface 
was  never  painted,  apply  S-W  Galvanized  Iron  Primer,  and 
in  twenty-four  hours,  apply  second  and  third  coats  of  S-W 
Flat-Tone  and  a coat  of  S-W  Glaze  Color  thinned  with  S-W 
GlazingJLiquid  as  directed  on  page  118  for  glazing  walls;  (b) 
Apply  S-W  Aluminum  Paint  or  S-W  Empress  Liquid  Gold, 
and  after  twenty-four  hours,  use  S-W  Glaze  Color  thinned 
with  S-W  Glazing  Liquid  as  directed  for  last  coat  in  mottling 
walls,  page  118. 

Store-Pipes 

Old  stove-pipes,  grates  and  similar  iron  surfaces  subjected 
to  heat  may  be  refinished  with  S-W  Stove  Pipe  and  Iron 
Enamel.  Should  be  applied  when  the  surface  is  slightly 
warm  and  allowed  to  dry  at  least  twenty-four  hours  before 
subjecting  to  a high  temperature.  This  material  produces 
little,  if  any  odor,  which  entirely  passes  away  after  the  first 
time  of  heating. 


( Page  152  ] 


Shrives,  Flower  Boxes,  Cupboards 


These  little  things  may  be  finished  in  a variety  of  ways  to 

suit  the  taste  and  the  re- 
quirements in  each  case.  A 
painted  finish  in  almost  any 
desired  color  may  be  ob- 
tained with  S-AA  Family 
Paint  or  SAA  P.  If  an 
enameled  finish  is  desired, 
S-AA  Enamel  or  S-AV 
Enameloid  may  be  used, 
in  white,  black  or  one  of 
the  pretty  shades  of  blue, 
pink,  green,  gray,  ivory, 
etc  Or  if  a fiat  finish  is 

The  housewife  spends  much  lime  in  Ihe  kitchen.  V anted,  S-AA  f lut“Tone  in 
1 1 should  hr  cozv  and  ultraclive  1 • , i i 

white  or  colors  may  be 
used.  Full  directions  for  enameling  will  be  found  on  page  60. 


Toys 

Some  of  t Ire  more  elaborate  toys — rocking-horses,  wagons, 
etc.,  may  be  brightened  up  now  and  then  with  a little  S-AAT 
Family  Paint,  SAA  P,  Floorlac  or  Scar-not  A’arnish,  as  desired. 


Window  Sills,  Wainscoting,  Baseboards,  Etc. 

AA  indow  sills  are  subjected  to  unusual  conditions  because 
of  rain  and  extremes  of  temperature,  and  wainscotings,  base- 
boards, etc.,  because  of  scrubbing  and  mopping  the  floors. 
S-AA’  Rexpar  A’arnish  is  the  best  varnish  to  use  for  such  work, 
as  the  service  required  approximates  the  conditions  found 
out-of-doors.  It  will  pay  to  touch  up  the  window  sills,  also 
window  frames  and  casing,  at  least  once  a year.  Full  direc- 
tions for  varnishing  will  be  found  on  pages  49  to  52 


Making  Ihe  Basement  Attractive 
The  basement  can  be  transformed  into  a light,  attractive 
and  sanitary  room  through  the  use  of  paint  and  varnish 
products. 

11  alls  and  Ceilings — Painting  the  walls  and  ceiling  white  is 
the  biggest  thing  that  can  be  done  to  improve  a basement. 
S-AY  Egg  -Shell  Ylill  AA  hite  is  the  best  material  to  use  for  this 


r Page  153  J 


purpose.  It  is  an  oil  paint  which  gives  a very  durable,  ex- 
tremely white  finish  and  can  be  used  on  rough  lumber,  stone 
or  brick  walls  and  metal  surfaces  alike.  More  moderate 
priced  materials,  which  give  excellent  results  for  the  same 
purpose,  are  S-W  Kalso,a  hot-water  paint,  and  S-W  Decotint, 
a cold-water  paint,  both  of  which  come  in  dry  powdered 
form  and  only  require  to  be  mixed  with  water  for  applica- 
tion. May  be  applied  to  any  clean  interior  surface— rough 
lumber,  stone  or  brickwork,  metal,  plastered  walls,  etc. 

Cement  or  Concrete  Floors — An  attractive  painted  finish  may 
be  produced  with  S-\Y  Concrete  Floor  Paint,  a line 
of  eight  colors  developed  especially  for  use  on  concrete  and 
cement,  if  trouble  is  experienced  from  dusting  or  lack  of 
waterproof  qualities,  another  treatment  entirely  should 
be  used,  that  of  hardening  the  floor  by  means  of  S-W  Concrete 
and  Cement  Hardener.  This  is  a liquid  preparation,  clear  in 
color.  Full  directions  for  the  treatment  of  cement  surfaces 
will  be  furnished  on  application  to  The  Sherwin-Williams 
Co.,  (i()l  Canal  Road,  Cleveland,  O. 

Piping — Pipes  of  all  kinds  may  be  made  more  attractive 
in  appearance  with  a coat  of  S-W  Aluminum  Paint. 

Stationary  Tabs — Stationary  wash  tubs  also  may  be  made 
attractive  in  appearance  by  painting  the  outside  with  S-W 
Aluminum  Paint.  If  a white  finish  is  preferred  S-W  Egg- 
Shell  Mill  White  may  be  used,  which  will  not  rub  off  on 
clothing. 


f Page  154  ] 


Chapter  XIII 


Miscellaneous  Exterior  Finishing 

OUSE  Painting,  as  the  term  is  commonly  applied  to 


the  exterior  painting  of  wooden  buildings  with  an 


"*■  oil  gloss  paint,  is  taken  up  in  detail  in  Chapters  11, 
III,  IV  and  V,  “The  Four  Purposes  of  Painting,”  “The  Right 
Use  of  Paint,”  “Estimating”  and  “Individual  Treatment  in 
Exterior  Painting.” 

In  addition,  however,  there  are  many  exterior  surfaces  on 
and  about  the  house  which  recjuire  finishing,  either  at  the 
time  the  house  is  painted  or  at  another  time. 

The  finishing  of  these  miscellaneous  exterior  surfaces  will 
be  taken  up  in  the  following  pages 


Sta  i n in  a Sh  ingles 


Shingled  roofs  and  the  sides  of  shingled  buildings  are 
generally  finished  with  some  form  of  shingle  stain  which 
penetrates  into  or  dyes  the  wood,  bringing  out  the  natural 
effect  of  the  grain  of  the  wood  instead  of  coating  and  con- 
cealing the  surface.  Shingle  stains  are  usually  made  with 
creosote,  which  tends  to  stop  decay  as  well  as  prevent  the  for- 
mation of  fungus  growth  and  the  attack  of  insects,  a factor 
of  particular  advantage  in  certain  localities  subject  to  the 
ravages  of  the  white  ant  and  other  wood-boring  insects. 

In  the  use  of  Sherwin-Williams  Preservative  Shingle 
Stain  on  new  surfaces,  the  shingles  may  be  either  dipped  or 
brushed.  We  recommend  one  dip  coat  and  one  brush  coat, 
the  dip  coat  covering  both  sides  of  the  shingles  and  under- 
neath the  lap  for  a distance,  and  the  brush  coat  insuring  a 
more  uniform  appearance.  In  dipping,  the  shingles  should 
not  be  soaked  in  the  stain,  but  dipped  in  and  out  rapidly, 
allowing  the  excess  stain  to  drain  back  into  the  container, 
and  the  shingles  thrown  into  a loose  pile  so  that  they  will  dry 
quickly.  Only  two-thirds  of  the  length  of  the  shingle  need 
be  dipped. 


f Page  155  1 


In  the  use  of  S-W  Preservative  Shingle  Stain  over  previous- 
ly stained  surfaces  which  are  satisfactory  in  color,  the  finish 
may  be  very  effectively  renewed  by  using  S-W  Preservative 
Shingle  Stain  of  the  color  originally  used,  thinned  gallon 
for  gallon  with  pure  raw  linseed  oil.  If  another  shade  is 
desired  two  coats  of  stain  should  be  used.  In  restaining,  a 
lighter  shade  than  is  actually  desired  should  always  be  used, 
as  stains  invariably  dry  out  darker  on  old  surfaces  than  on 
new. 

However,  there  are  many  limitations  in  restaining,  owing 
to  the  transparent  nature  of  shingle  stains.  For  instance,  if 
surface  has  been  previously  stained  red,  it  cannot  be  restained 
green  or  vice  versa,  as  the  refinishing  coat  will  not  satisfacto- 
rily hide  the  original  coat.  In  many  cases,  very  satisfactory 
effects  may  be  obtained  in  restaining.  For  instance,  a bright 
red  over  a light  brown  will  give  a handsome  maroon  color; 
a bright  green  over  a light  brown  will  give  a beautiful  maple 
green  effect,  etc. 

Sherwin-Williams  Preservative  Shingle  Stain  covers  ap- 
proximately 100  square  feet  two  coats,  or  150  square  feet  one 
coat  to  the  gallon,  if  brushed.  Two  and  one-half  gallons  will 
dip  about  1000  shingles  one  coat.  Three  gallons  will  cover 
about  1000  shingles,  one  dipping  coat  and  one  brush  coat. 
These  estimates  for  covering  capacity,  however,  can  be  only 
approximate,  owing  to  the  varying  character  of  the  shingles, 
whether  dressed  or  rough,  hard  or  soft,  etc. 

In  cases  where  the  use  of  shingle  stain  is  not  desirable, 
shingles  may  be  very  effectively  painted  with  Sherwin-Wil- 
liams SWP  House  Paint  to  which  should  be  added  about 
'25  per  cent  {jure  spirits  turpentine,  which  has  a tendency  to 
reduce  the  apparent  gloss  of  the  paint. 

Doors,  Porch  Ceilings,  Elc. 

For  an  absolutely  waterproof  varnished  finish  on  all 
outside  woodwork,  a high  grade  spar  varnish,  such  as  S-W 
Rexpar,  especially  adapted  to  this  service,  should  always  be 
used.  This  type  of  varnish  gets  its  name  from  the  fact  that  it 
was  originally  used  on  the  masts  or  spars  of  ships. 

On  front  doors,  the  highest  class  finish  may  be  produced 
through  the  use  of  S-W  Rexpar  Varnish  applied  as  directed 
under  caption  “Varnishing”  on  page  49-52. 


[ Page  156  ] 


For  front  or  side  doors,  porch  ceilings,  etc.,  two  coats  of 
Rexpar  may  he  applied  direct  to  the  surface,  on  new  work 
thinning  the  first  coat  with  one  pint  pure  spirits  turpentine  to 
the  gallon  of  paint.  Each  coat  should  be  allowed  to  dry  for 
forty-eight  hours. 

Porch  ceilings  may  be  very  effectively  painted  with  SWP 
House  Paint,  Light  Blue  .‘5 (if  or  Sea  Green  354  or  White  being 
most  commonly  used  for  this  purpose. 

Where  undecided  as  to  whether  to  varnish  or  paint  t lie 
porch  ceiling,  take  into  consideration  whether  the  porch  is 
deeply  shaded;  if  so,  a painted  ceiling  will  help  to  bring  the 
light  in;  otherwise  a varnish  finish  is  usually  the'  best. 

Side  and  back  doors  also  may  be  painted  with  SWP  Maroon 
382,  SWP  Brown  388  or  the  trim  color  in  certain  cases. 


Porch  Floors  and  Steps 


Porch  floors  require  the  use  of  a paint  especially  prepared 

to  withstand  severe  outside 
exposure,  scuffing  of  heels 
and  repeated  cleaning  and 
scrubbing.  Porch  floors 
and  steps,  on  account  of 
the  severe  wear  and  tear 
resulting  from  the  moving 
about  of  porch  furniture, 
may  very  profitably  be 
painted  by  the  home  owner 
in  between  the  times  the 
house  is  painted.  This 
will  keep  the  porch  and 
steps  from  looking  shab 
bier  than  the  rest  of  the 
house  and  also  prevent  the 
penetration  of  moisture 

.4  good  looking  front  helps  a lot — saves  repair  frOlll  StOI  111S  and  cleaning  , 
U"S,°°-  ^ihe  porch  and  steps  every  year  ^ foreru]mcr  of  rot  an(] 

decay,  avoiding  premature  costly  repairings. 


In  the  use  of  S-W  Porch  and  Deck  Paint,  the  surface  to 
be  painted  should  be  free  from  grease  and  soot  and  perfectly 
dry.  If  the  job  has  been  previously  painted  and  is  peeling, 
scaling  off  or  cracking,  burn  or  scrape  off  all  old  scaly  paint. 


L Page  157  ] 


Stir  paint  thoroughly  from  bottom  of  can.  This  is  im- 
portant. After  stirring  with  a stick  or  paddle,  take  two  cans 
and  pour  paint  back  and  forth  from  one  to  the  other.  Apply 
in  thin  coats  and  brush  out  thoroughly.  It  is  better  to  apply 
three  thin  coats  than  two  heavy  ones.  Thin  as  directed  below. 

Xew  Floors 

First  coat — Shellac  all  knots  and  pitchy  spots.  Thin  paint 
gallon  for  gallon  with  pure  raw  linseed  oil  and  brush  out  well, 
using  a good  bristle  brush.  Do  not  use  boiled  oil.  When  dry, 
putty  all  nail  holes.  Do  not  apply  a succeeding  coat  until  the 
previous  one  has  become  thoroughly  dry. 

Second  coat — -Add  one  pint  pure  spirits  turpentine  to  each 
gallon  of  paint.  Allow  forty-eight  hours  between  second  and 
third  coats. 

Third  coat — Apply  paint  just  as  it  comes  from  the  can 
and  brush  out  well.  Always  apply  three  coats  on  new  work. 

Old  Floors 

First  coat — Where  surface  is  hard  and  smooth,  add  one 
pint  pure  spirits  turpentine  to  each  gallon  of  paint  and  brush 
out  evenly  and  well.  Allow  forty-eight  hours  before  applying 
second  coat. 

Second  coat — Apply  paint  as  it  comes  from  the  can  and 
brush  out  thoroughly. 

To  treat  canvas  used  on  the  floors  of  sleeping  porches,  thin 
the  first  coat  with  one-half  gallon  of  pure  raw  linseed  oil  to 
every  gallon  of  paint,  and  omit  the  turpentine.  For  second 
and  third  coats,  apply  the  paint  as  it  comes  from  the  can. 


Painting  the  Blinds 

Window  blinds  from  time  immemorial  have  very  custo- 
marily been  painted  green,  although  sometimes  painted  the 
same  color  as  the  trim. 

One  of  the  greens  in  the  SWF  House  Paint  line  may  be  used 
for  this  purpose,  or  else  SAN  Verdelite,  an  unusually  permanent 
green,  made  especially  for  outdoor  surfaces,  such  as  window 
blinds,  store  fronts,  structural  and  ornamental  iron  work, 
fences,  etc. 


[ Paste  158  ] 


Gutters,  Downspouts,  Etc. 

Gutters,  downspouts  and  similar  surfaces  should  be  painted 
with  a metal  protective  paint,  such  as  S-W  Metalastic. 

In  the  use  of  this  material,  particular  care  should  be  taken 
to  remove  all  rust,  scale,  etc.,  with  a wire  brush  or  scraper. 
Care  should  also  be  taken  to  see  that  the  surface  is  free  from 
moisture  and  frost  as  well  as  perfectly  clean  and  free  from 
grease.  The  paint  should  be  stirred  thoroughly  from  the 
bottom  of  can  and. applied  with  a bristle  brush  in  smooth  even 
coats,  brushing  out  well.  Succeeding  coats  should  not  be 
applied  until  the  previous  one  is  dry. 

If  desired,  a finishing  coat  of  the  house  paint  or  trim  color 
or  a bright  red,  such  as  SWP  367,  may  be  applied  over  the 
Metalastic  coating. 

Screens 

Screens  should  be  painted  either  when  put  up  in  the  Spring 
or  when  put  away  in  the  Fall.  S-W  Screen  Enamel  (made  in 
black  and  green)  may  be  used.  Before  applying,  brush  the 
surface  well  to  remove  dust,  and  scrub  both  wire  and  wood- 
work with  a brush;  then  rinse  with  a hose.  Let  dry  several 
hours;  then  apply  the  screen  enamel,  brushing  it  out  well 
instead  of  applying  in  a heavy  coat.  Paint  the  frame  with 
the  same  material  or  with  SWP  Black.  One  coat  is  enough 
for  the  wire,  but  two  coats  may  be  used  on  the  woodwork  if 
a fine  job  is  desired. 

Brick  Walls 


Brickwork  should  not  be  painted  before  it  is  at  least  a 
year  old,  so  that  the  lime  used  in 
the  mortar  will  have  time  to  “cool” 
and  not  spot  through  and  spoil  the 
job. 

In  painting  brickwork,  lay  off 
a space  and  follow  the  joints,  so 
that  glossy  spots  will  not  show  at 
the  lap  when  you  do  the  next  space. 

To  imitate  the  color  of  pressed 
brickwork  or  terra  cotta  work,  use 
S-W  Flat  Brick  Red.  This  is  a 
paste  material  and  requires  thin- 
ning with  turpentine  to  a brushing 
consistency.  SWP,  S-W  Roof  and  Bridge  Paint  Red,  Com- 


Follow  the  joints  to  avoid 
showing  laps 


[ Page  159  ] 


inon wealth  Red,  or  Concrete  Wall  Finish  are  all  suited  for 
brickwork. 

When  using  an  oil  gloss  paint  on  new  or  unpainted  brick- 
work of  a very  soft  nature,  the  priming  coat  should  carry 
an  exceedingly  liberal  quantity  of  linseed  oil  and  some  tur- 
pentine. Ordinarily  a gallon  of  linseed  oil  and  a pint  of 
turpentine  to  the  gallon  of  paint  is  correct.  Allow  priming 
coat  to  dry  for  three  or  four  days,  then  take  putty,  color  it 
with  the  paint  and  fill  up  all  holes  and  crevices.  Allow  this 
to  set  for  a day  or  two,  then  apply  the  second  coat,  thinned 
about  half  as  much  as  priming  coat.  Allow  to  dry  for  three 
or  four  days,  then  apply  the  third  coat  of  paint  as  it  comes 
from  the  can.  On  a good  hard  surface  two  coats  are  usually 
sufficient.  The  first  coat  should  be  reduced  one  quart  of 
turpentine  to  each  gallon  of  paint;  second  coat  applied  as  it 
comes  from  the  can. 

A flat  wall  brush  is  most  satisfactory  for  painting  brick- 
work. 

Damp- Proofing  for  Brickivork 
Below  Grade 

To  prevent  the  penetration  of  moisture  through  foundation 
walls,  a foundation  damp- proofing  such  as  S-W  Antydamp 
should  be  applied  to  the  exterior  of  masonry  or  concrete  foun- 
dation below  grade.  This  is  best  done  at  the  time  of  building, 
and  sufficient  space  should  be  provided  for,  in  digging  the 
excavation,  for  men  to  have  room  to  apply  Antydamp  to  all 
parts  of  the  foundation  surface.  If  the  ground  is  extremely 
wet,  effective  waterproofing  cannot  be  expected  without  the 
use  of  drain  tile  in  addition  to  any  other  methods  that  may  be 
employed. 

S-W  Antydamp  is  an  alkali-proof,  acid-proof,  glossy  black 
paint  of  the  asphalt  type.  It  should  be  applied  with  a three 
or  four-knot  roofing  brush,  as  it  comes  from  the  package, 
except  in  very  cold  weather  when  it  is  necessary  to  heat 
slightly  before  applying.  Two  coats  should  be  applied,  in 
full  coats  without  endeavoring  to  brush  the  material  out  too 
much,  because  the  heavier  the  coating  the  more  protection 
it  affords.  Twenty-four  hours  should  be  allowed  for  drying 
between  the  first  and  second  coats,  and  at  least  twenty-four 
hours  after  the  second  coat  has  been  applied,  before  back- 
filling. 


f Page  160  ] 


In  cases  where  there  is  a presence  of  hidden  springs  or 
marshy  land,  or  hydrostatic  pressure  in  any  form  around  the 
foundation,  the  use  of  two  coats  of  Antydamp  is  not  sufficient, 
and  under  these  conditions  it  will  be  necessary  to  alternate  at 
least  two  layers  of  cheap  burlap  or  felt  paper  with  Antydamp, 
and  special  instructions  regarding  this  work  will  be  furnished 
on  reci nest. 

Concrete  and  Stucco 

Concrete  and  stucco  buildings  may  be  protected  and  water- 
proofed as  well  as  beautified  by  painting  with  a finish  like  S-W 
Concrete  Wall  Finish.  This  material  is  made  in  a line  of 
suitable  colors,  permitting  very  attractive  color  combina- 
tions to  be  worked  out,  relieving  the  cold  monotony  of  un- 
treated concrete  or  cement,  and  preventing  the  streaking  of 
walls  from  rain  and  dirt. 

In  the  use  of  S-W  Concrete  Wall  Finish,  the  surface  to  be 
painted  should  be  thoroughly  dry  and  free  from  grease  and 
dirt.  Most  concrete  or  plastered  walls  require  two  coats  to 
produce  a thoroughly  satisfactory  job.  The  first  coat  should 
ordinarily  be  thinned  about  20  per  cent  with  pure  spirits 
turpentine,  and  the  second  coat  applied  as  it  comes  from  the 
can.  For  very  smooth,  hard  surfaces,  the  first  coat  may  be 
thinned  with  pure  spirits  turpentine,  using  from  a pint  to  a 
quart  for  each  gallon  of  paint.  Forty-eight  hours  should  be 
allowed  between  coats  for  drying.  May  be  applied  with  a 
spraying  machine,  if  desired. 

Never  add  linseed  oil  to  a concrete  or  cement  paint  for 
the  first  coat. 

Roof  Upkeep 

Roofs  may  be  treated  in  various  ways  according  to  the 
kind  of  roofing. 

Slate  roofs,  of  course,  require  no  treatment. 

Shingled  roofs  may  be  stained,  if  desired,  as  explained  on 
page  155,  or  may  be  painted  with  S-W  Roof  and  Bridge  Paint 
or  SWP  House  Paint. 

Composition,  felt  and  prepared  or  “rubber”  roofing,  as 
well  as  all  metal,  wood  or  concrete  roofs  may  be  coated  with 
S-W  Ebonol  roofing  paint,  a heavy  bodied  black  paint  with 
splendid  protective  and  waterproof  qualities  for  general  exte- 


t Page  161  ] 


rior  upkeep  work.  This  material  is  not  of  an  artistic  nature 
for  use  on  high  class  dwellings,  but  for  use  on  buildings  where 
utility  and  economy  are  the  principal  factors. 

Repair  work  of  all  kinds  on  and  about  the  roof  can  be  most 
effectively  taken  care  of  with  such  material  as  S-W  Elastic 
Roofing  Cement.  This  is  a soft,  plastic  material  which  may 
be  used  for  repairing  leaky  roofs,  gutters,  chimneys,  flues, 
chimney  flashings,  downspouts,  etc.  It  should  be  applied  with 
a trowel,  large  roofing  brush  or  “squeegee.”  Is  absolutely 
waterproof  as  well  as  fireproof  and  will  not  run  under  hot 
Summer  sun  nor  crack  in  cold  weather.  May  be  applied  in 
any  kind  of  weather. 


6 arages  and  Outbuildings 

As  a rule,  these  buildings  are  painted  with  house  paint — 
(SWP — Sherwin-Williams  Paint,  Prepared) — in  the  same 
colors  as  the  house.  In  many  cases,  however,  other  colors 
are  desirable,  and  wherever  a durable  and  serviceable 
paint  is  desired  for  this  purpose  at  a moderate  price  a line  like 
S-W  Commonwealth  Paint  can  be  used.  These  paints  are 
made  in  bright  and  very  attractive  shades  of  red,  gray,  green 
and  orange  yellow.  When  trimmed  with  white  a very  pleasing 
effect  is  presented. 

Porch  and  Lawn  Furniture 

So  much  is  added  to  the  appearance  of  a place  during  the 
Summer  months  in  having  porch  chairs,  lawn  swings,  benches, 
seats,  etc.,  painted,  and  the  cost  and  the  labor  of  doing  the 
work  are  so  trifling  that  no  one  should  neglect  repainting  these 
things  every  year  at  the  start  of  the  outdoor  season. 

Sherwin-Williams  Porch  and  Lawn  Furniture  Enamel  is 
made  especially  for  this  purpose,  in  bright  colors  that  are  very 
clear  in  tone,  and  specially  adapted  to  withstand  outside 
exposure  and  not  soften  under  heat  or  stick  to  clothing. 

In  using  Porch  and  Lawn  Furniture  Enamel  care  should 
be  taken  to  see  that  the  surface  is  clean  and  perfectly  dry. 
Stir  the  material  thoroughly  before  attempting  to  apply.  It 
should  be  applied  evenly  and  not  too  heavily,  using  a soft 


[ Page  162  ) 


bristle  brush.  If  considered  too  heavy  for  certain  work,  a 
little  pure  spirits  turpentine  may  be  added. 

Fences , Clothes  Posts,  Arbors,  Trellises,  Etc. 

The  various  little  things  about  the  grounds  should  be  kept 
attractively  painted.  A few  minutes’  time  will  do  all  the 
work,  and  a few  cents  will  buy  all  the  paint. 

Any  of  these  little  things  may  be  painted  the  same  color 
as  the  house,  and  especially  if  done  at  the  time  house  is  being 
painted,  will  look  very  well.  Or  such  articles  as  may  be 
detached  from  the  house  may  be  finished  in  a suitable  shade 
of  green  in  keeping  with  grass  and  foliage,  either  an  oil  gloss 
paint  like  SWP  or  a stain  like  S-W  Preservative  Shingle 
Stain,  or  they  may  be  stained  in  an  inconspicuous  brown 
approximating  the  great  outdoor  color  Mother  Nature  has 
painted  the  earth  and  the  bark  of  trees.  Or,  if  desired, 
these  outdoor  surfaces  may  be  very  prettily  finished  with 
bright  oranges,  yellows,  red  or  greens,  possibly  trimmed  with 
white.  Sherwin-Williams  Commonwealth  Paint  will  be  found 
very  satisfactory  for  this  purpose. 

Fence  posts,  no  matter  how  finished  above  ground,  may 
very  profitably  be  given  a coat  of  S-W  Creosote  or  Carbolic-ol 
Shingle  Stain  at  the  bottom  before  setting  in  the  ground  as  a 
preservative  against  decay. 

Metal  Surfaces 

All  metal  surfaces  should  be  painted  with  a metal  preserva- 
tive paint  like  S-W  Metalastic.  This  is  a graphite  paint  made 
ordinarily  in  black  and  brown,  although  also  furnished  in 
gray  and  green  where  required. 

In  using  this  material  the  surface  should  not  only  be  clean 
and  free  from  grease,  but  all  rust,  scale,  etc.,  should  be  re- 
moved with  a wire  brush  or  by  scraping  with  a putty  knife. 
Care  should  also  be  taken  to  see  that  the  surface  is  free  from 
frost.  The  paint  should  bestirred  thoroughly  from  the  bottom 
of  can  and  applied  writh  a brush  in  smooth  even  coats,  brushing 
out  well.  Succeeding  coats  should  never  be  applied  until  the 
previous  one  is  perfectly  dry.  If  necessary  to  thin,  pure  boiled 
linseed  oil  should  be  used. 


I Page  163  ] 


Galvanized  Iron 

For  priming  or  first  coat  on  galvanized  iron,  a product 
like  Sherwin-Williams  Galvanized  Iron  Primer  should  always 
be  used,  which  obviates  the  liability  of  peeling  and  scaling 
so  common  where  ordinary  paints  are  applied  directly  to 
galvanized  surfaces. 

This  material  is  made  in  grey  only  and  is  supplied  ready 
for  application.  It  should  be  thoroughly  brushed  out. 

Galvanized  Iron  Primer  is  made  for  priming  purposes  only, 
and  should  be  re-coated  in  from  twenty-four  to  forty-eight 
hours  with  an  oil  gloss  paint  or  S-W  Metalastic  Metal  Pro- 
tective Paint.  Never  allow  to  stand  more  than  forty-eight 
hours  before  re-coating. 


I Page  164  1 


Chapter  XIV 

Cleansers  and  Polishes 


CLEANSERS  and  polishes  have  two  missions.  The 
obvious  one  is  to  make  surfaces  on  which  they  are  used 
clean  and  lustrous.  The  other,  even  more  important, 
is  to  keep  finishes  in  first-class  condition. 

It  is  perhaps  trite  to  say  that  the 
length  of  time  a finish  will  stay  looking- 
well  is  largely  dependent  on  the  care 
given  it.  However,  although  the  above 
fact  is  commonly  known,  comparatively 
few  people  know  how  to  take  care  of 
painted  and  varnished  finishes  properly. 

It  is  our  purpose  here  to  tell  how 
to  do  this  and  to  show 
that  with  proper  materials 
and  proper  methods  this 
work  takes  but  little  time, 
and  the  results  are  such  as 
to  make  it  an  interesting- 

occupation  rather  than  an  , , . 

* A little  systematic  care  keeps  furniture 

irksome  task.  looking  like  new 


Just  as  it  is  important  that  only  the  highest  grade  paints, 
varnishes  and  enamels  be  used,  it  is  equally  important  that 
cleansers  and  polishes  be  of  known  efficiency  and  reliability. 
Those  of  doubtful  quality  may  quickly  injure  the  finest  finish, 
while  the  dependable  ones  of  known  quality  will  double  or 
treble  its  life  and  keep  it  looking  well  at  the  same  time. 

It  is  logical  that  a concern  which  manufactures  finishes  of 
every  description  should  be  in  the  best  position  to  make 
products  for  keeping  these  finishes  in  first-class  shape.  That 
is  why  The  Sherwin-Williams  Company  makes  a full  line  of 
cleansers  and  polishes.  As  the  care  of  painted  and  varnished 
surfaces  depends  as  much  on  the  use  of  the  right  cleansers  and 
polishes  as  on  their  correct  application,  the  following  will 


[ Page  165  ] 


necessarily  deal  largely  with  Sherwin-Williams  products  and 
their  peculiar  adaptability  to  various  home  requirements. 

The  Washing  of  Varnished,  Enameled  and  Painted 
Surfaces 

Many  people  experience  difficulty  in  the  washing  of 
painted,  varnished  and  enameled  surfaces.  They  get  all  sorts 
of  unsatisfactory  results.  In  some  cases  the  finish  is  dulled 
or  killed  from  using  too  strong  a cleanser — other  times  a 
smeary  appearance  results — particularly  on  a mahogany  finish. 

All  of  these  difficulties  are  removed  by  the  use  of  S-W 
Flaxoap,  an  absolutely  pure  linseed  oil  soap.  Owing  to  the 
fact  that  linseed  oil  is  the  life  of  all  paints  and  varnishes, 
Flaxoap  is  the  best  cleaner  for  all  painted  and  varnished 
surfaces.  It  lathers  freely  in  hot  or  cold,  soft  or  hard  water. 
It  contains  no  animal  fat  whatever  and  no  free  caustic  alkali, 
yet  it  cuts  dirt  and  grease.  It  is  agreeable  to  use  as  it  leaves 
the  hands  soft.  In  fact  it  is  used  by  many  as  a hand  soap. 
Flaxoap  is  also  excellent  for  cut  glass,  windows,  fabrics,  rugs, 
chinaware  and  the  like.  It  is  an  ideal  all-around  household 
cleaner. 

For  cleaning  woodwork  and  furniture,  Flaxoap  should  be 
dissolved  in  lukewarm  water  and  used  in  the  same  way  as 
ordinary  soap  water.  The  surface  should  then  be  wiped  off 
with  a clean  cloth  or  sponge  and  polished  briskly  with  a dry 
cloth  or  chamois.  The  finish  will  not  only  be  thoroughly 
cleaned  but  will  look  like  new,  seeming  to  gain  life  through  the 
use  of  Flaxoap. 

The  use  of  Flaxoap  does  away  with  a lot  of  hard  work,  as 
it  eliminates  the  scrubbing  brush  entirely.  Sponging  the  sur- 
face is  all  that  is  necessary  to  do  the  work. 

If  reasonable  care  is  exercised,  high  grade  furniture,  such 
as  pianos,  victrolas,  etc.,  may  be  washed  with  perfect  safety. 
Only  soaps  of  absolute  purity  should  be  used.  Castile,  Ivory 
and  S-W  Flaxoap  (which  is  the  highest  grade  vegetable  soap), 
are  all  suitable  for  this  kind  of  work.  A very  mild  solution 
of  the  soap  and  water  should  be  made,  and  care  should  be 
taken  to  see  that  the  soap  is  thoroughly  dissolved.  All  soapy 
deposits  should  be  removed  by  going  over  the  surface  with  a 
clean  cloth  which  has  been  saturated  with  clean  water  and 


f Page  166  ) 


wrung  out  well.  The  surface  should  then  be  polished  with  a 
very  soft  cloth  or  chamois.  All  operations  should  follow  each 
other  quickly,  and  the  water  should  not  be  flushed  on  too  freely 
as  it  is  liable  to  do  damage  to  some  of  the  interior  parts  of 
instruments,  upholstery  or  furniture. 

For  a thorough  cleaning,  such  as  is  desired  at  Spring  and 
Fall  housecleaning,  there  is  no  substitute  for  soap  and  water. 
This  should  always  be  followed  by  the  application  of  a polish 
as  directed  in  the  following  paragraphs,  if  a fine  lustrous  polish 
is  desired. 

Cleaning  and  Polishing  Furniture  and  Woodivork 

For  the  daily  dusting  or  brightening  up  of  furniture  and 
woodwork,  a dust  cloth  and  a little  good  polish  are  unexcelled. 
Care  should  be  taken,  however,  to  use  only  safe  polishes  of 
the  non-acid  type,  as  acid  polishes  are  injurious  to  the 
finish.  S-W  Polish-ol  and  S-W  Floor- Wipe  are  highly  recom- 
mended for  the  purpose. 

To  obtain  best  results  from  these  polishes,  always  shake 
well  before  and  while  using.  Simply  pour  a little  on  a piece 
of  cheesecloth  and  rub  rapidly  and  uniformly  over  the  surface. 
Should  the  surface  be  exceptionally  dirty  or  spotted,  use  the 
polish  freely  and  rub  thoroughly  until  in  good  condition. 
Follow  this  application  by  rubbing  the  surface  with  a piece 
of  dry  cheesecloth  until  the  desired  polish  is  obtained. 

Before  passing  from  the  subject  of  furniture  polishes,  it 
is  perhaps  well  to  call  attention  to  some  of  the  common  errors 
in  the  use  of  them.  Some  people  fail  to  get  the  desired  polished 
effect  because  they  apply  the  polishing  preparation  to  too 
much  surface,  often  to  every  piece  of  furniture  in  the  room, 
before  rubbing  to  a polish  with  a clean  cloth.  This  gives  an 
opportunity  for  a gummy,  tacky  film  to  form  in  the  mean- 
while. The  proper  way  is  to  apply  the  preparation  to  a com- 
paratively small  surface  and  polish  immediately. 

A second  precaution  is  to  be  sure  to  rub  the  surface  dry. 
Many  persons  like  to  leave  the  polish  on  damp,  for  it  seems 
to  shine  much  brighter  when  it  is  wet.  However,  if  this  is 
done  it  soon  dulls  down  with  a bluish  cast  and  also  leaves  an 
undesirable  oily  finish. 

It  is  well  to  beware  of  polishes  that  work  too  easily. 
By  that  we  mean  those  which  produce  an  unusually  high 


[ Page  167  ] 


gloss  with  a minimum  of  rubbing.  Polishes  of  this  sort  often 
contain  injurious  acids,  and  continued  use  of  them  causes 
a finish  to  crack  or  check. 

The  Care  of  Brass  and  Other  Metal  Surfaces 
Metal  surfaces  such  as  water  faucets,  door  knobs  and 
builders  hardware  of  all  kinds,  fixtures,  etc.,  can  be  kept  bright 
and  shiny  by  the  use  of  S-W  Bras-Brite.  This  metal  polish 
comes  in  liquid  form  and  is  not  gritty,  so  the  danger  of 
scratching  the  surface  is  eliminated.  Only  a small  amount  is 
necessary  to  clean  the  surface,  one  cloth  being  used  for 
cleaning  and  another  for  polishing. 

Cleaning  and  Polishing  Floors 
Fainted  Floors — As  in  the  case  of  painted  furniture, 
painted  floors  may  be  kept  in  the  best  condition  by  the  use 
of  Flaxoap,  dissolving  a little  in  lukewarm  water  and  using 
as  ordinary  soap  water.  The  surface  should  then  be  wiped  off 
with  a clean  damp  cloth  or  sponge  and  polished  briskly  with 
a dry  cloth.  Only  a small  quantity  of  this  soap  is  required 
to  wash  a large  surface.  Flaxoap  not  only  cleans  but  brings 
back  the  color  and  gloss. 

Varnished  arid  Waxed  Floors— Varnished  floors  should  be 
washed  at  regular  intervals  with  Flaxoap,  the  frequency  of 
washing  being  determined  by  the  wear  and  cleanliness  of  the 
locality  in  which  your  house  is  located  and  the  like. 

Between  washings  the  floor  may  be  kept  clean  and  polished 
by  the  use  of  Floor-Wipe,  a special  preparation  for  cleaning 
and  renewing  the  finish  of  waxed  and  varnished  floors,  wood- 
work, etc.  It  removes  the  film  of  dirt  which  is  found  on  the 
surface  of  varnished  floors  even  though  they  appear  clean. 

The  application  of  Floor- Wipe  once  a week  will  keep  your 
floors  in  first-class  condition.  It  is  easy  to  apply — simply 
dampen  a cloth  with  the  material  and  wipe  up  as  in  ordinary 
cleaning.  Works  splendidly  with  any  floor  mop. 

Although  we  recommend  Floor- Wipe  particularly  for  floors, 
and  Polisli-ol  for  furniture,  Polish-ol  may  be  used  for  floors 
with  good  results,  and  many  people  prefer  it.  Vice  versa, 
Floor- Wipe  may  also  be  used  on  furniture  and  woodwork. 

This  book  conceited,  written  and  designed  by  the  Decorative  and  Advertising 
Departments  and  printed  by  the  Printing  Department  of 
• The  Sherwin-Williams  Co.  » 


B435  A23  422 


f Page  168  ] 


